At the heart of “Kumusta,” a reality and cooking show that recently aired on TV5 and can be streamed on Viu and Rakuten Viki, is a pop-up Filipino restaurant in Seoul that serves Filipino dishes with a Korean twist.
The cast features Filipino chef JP Anglo as head chef, and actresses Janella Salvador as assistant chef and Jodi Sta. Maria and Francine Diaz as hall servers. Later episodes introduce another Filipino actress, Arci Muñoz, and Korean actor Ji Chang Wook as part-time hall servers.
South Korean celebrity chef and TV personality Choi Hyunseok makes a special appearance as mentor and consultant to Anglo.
In the show, the Filipinos and Ji are faced with the everyday challenges of running a restaurant in one of Seoul’s busiest and wealthiest neighborhoods, balancing the demands of customers while dealing with the complexities of cross-cultural collaboration.
New take on reality TV
“Kumusta” follows a long tradition of reality shows gracing Philippine television. For decades, local viewers have enjoyed reality shows such as “Extra Challenge,” “Pinoy Dream Academy,” and “Pinoy Big Brother.” International franchises like “Fear Factor,” “Survivor,” and “The Amazing Race” found success locally.
What sets “Kumusta” apart is its hybrid format: part reality show, part cooking program.
The format is by no means original. Filipinos who are longtime fans of Korean variety cooking shows know this very well.
South Korea has a long and successful history of producing cooking-centered reality shows, including “Three Meals A Day,” “Unexpected Business,” “Kang’s Kitchen,” and “Youn’s Kitchen” and its spinoffs, “Youn’s Stay” and “Jinny’s Kitchen.”
These shows typically follow the same template: Popular Korean celebrities open pop-up restaurants in different locations, serving traditional Korean dishes while navigating the chaos of daily operations. A recurring element is the surprise of guest celebrities who lend a hand.
In “Kumusta,” notable guests include Korean celebrities Kim Myungsoo, Seo In-guk, Kim Minkyung, and Filipino chef Kim Yumol.
What works
One of the show’s strongest aspects is its effort to showcase Filipino food. Dishes like gising–gising, sinigang, palabok, and kare-kare are reimagined with subtle Korean influences, introducing Filipino cuisine to a broader audience.
The presence of JP Anglo, a “Master Chef” winner, ensures authenticity while allowing room for creative fusion. His ability to balance tradition with innovation gives the show credibility and appeal.
Another highlight is the way the program celebrates Filipino identity into a foreign setting. The most heartwarming moment came in the final two episodes when the cast organized a Philippine Day Festival, a special dinner for Filipinos who have been living in Korea for the past many years. The iconic lechon was cooked and served for the Filipino guests, reminding viewers of the emotional power of cuisine as a cultural anchor.
What needs improvement
Despite its strengths, “Kumusta” raises questions about its intended audience. The cast’s use of banmal (informal Korean speech) can feel disorienting and even disrespectful in a culture that places high value on social hierarchy.
Similarly, Filipino cast members referring to Korean colleagues by their last names—such as calling Ji Chang Wook simply “Ji”—may simplify things for television but risks coming across as culturally insensitive. A show that aims to bridge cultures should pay closer attention to basic manners and linguistic nuances.
Another issue is accessibility. The lack of Korean subtitles on Viu limits the show’s reach, as only 20% to 30% of Koreans speak fluent English. This oversight makes it harder for the program to connect with the Korean audience, if that is the intent.
Moreover, while the show is set in South Korea, it misses opportunities to showcase Korean culture more deeply, relying instead on surface-level interactions.
Opportunities for Philippine businesses
“Kumusta” may open doors for broader opportunities. Filipino food manufacturers, such as the show’s sponsors (Rebisco, Choco Mucho, Fudgee Barr, Dowee Donut) should take note of the potential for exporting products to South Korea.
The Korean entertainment industry has long used television as a platform to promote its culture—whether through food, music, tourism, or literature. By showcasing Filipino cuisine in Seoul, the show hints at the possibility of similar strategies for Philippine businesses.
Instead of focusing solely on international exposure, the production team could also consider setting future seasons in different provinces of the Philippines. This would allow the show to highlight regional specialties and local culinary traditions, much like Korean variety shows that travel to different locations across South Korea to capture diverse flavors and lifestyles.
Such an approach would not only enrich the narrative but also strengthen the cultural identity of Filipino cuisine.
“Kumusta” is a cultural experiment that attempts to bridge Filipino and Korean traditions through food, entertainment, and shared experiences. Although the show has its flaws in execution—such as inconsistent attention to cultural etiquette and the overly polished presentation of its cast—its heart lies in the celebration of Filipino cuisine and identity on an international stage.
At its core, it shows that food carries memories, reflects heritage, and connects people across cultures. With better attention to cultural details and stronger storytelling, future seasons could grow into a meaningful platform for cross-cultural exchange and a proud showcase of Filipino cuisine. CS
