How do you live with envy and jealousy?

 

Jealousy is one of the toughest feelings we come up against in our lives. There is not much worse than this aching sense that somehow life has been unfair to us, while amply rewarding someone else. It’s even worse if that someone else is present in our daily lives, making it difficult for us to get the space we need to feel and heal our pain. We may be jealous of a sibling, a dear friend, or even famous personalities. We may even face the challenge of feeling jealous of our spouse, our child, or one of our parents. Whatever the case, we can normalize our experience by understanding that, as painful as it is, jealousy is a common human feeling.

Nevertheless, it is important that we not revel in our jealousy for too long, feeding it with inner talk or gossip with others. If we do, we run the risk of losing ourselves to its negative power. This complex emotion has something good to offer us — information about our own heart’s desire. When we envy certain people, we want what they have, and if we are to be conscious, we must acknowledge that. In this way, we discover what we want for ourselves, which is the first step to getting it. It may be a certain kind of relationship or a career. Whatever it is, it is possible that we could create it for ourselves in our own lives if we are able to honor our own desires.

Of course, there are times when we cannot heal our jealousy in this way, and then the lesson may be about acceptance and the understanding that our path is different from the paths of those around us. It may be hard to see now, but perhaps, it will eventually be clear why our life has taken its particular path. In the end, the best cure for jealousy is the recognition that the life we have is full of its own meaning and beauty, utterly unique to us — a gift that could never be found in the life of another.

Jealousy often stems from feelings of inadequacy or insecurity. If you compare yourself to others and feel you fall short, it can trigger jealous feelings. Fear of Loss: Jealousy can arise from a fear of losing something important to you, be it a relationship, friendship, or status.

People tend to minimize the success of others primarily because it helps them cope with their own insecurities. It's a defense mechanism really; and easier than accepting you might be limiting your own success. It manifests as envy because we feel others can't possibly deserve the success they are enjoying.

Research has identified many root causes of extreme jealousy, including low self-esteem, high neuroticism, and feeling possessive of others, particularly romantic partners. Fear of abandonment is also a key motivator.

“The biggest difference between healthy and unhealthy jealousy is how we manage it,” Dr. Roberts says. The former is natural, normal, and most importantly, temporary; the latter is “toxic, explosive, and uncompromising, usually indicating a desire to control the other person,” she explains.

James 3:14-16 “But if you have bitter jealousy and selfish ambition in your hearts, do not boast and be false to the truth. This is not the wisdom that comes down from above, but is earthly, unspiritual, demonic. For where jealousy and selfish ambitions exist, there will be disorder and every vile practice.”

People don't hurt you by being successful; you hurt yourself by being envious of them. You are not a half of people you are envying. The art of owning is just the art of self-gifting, and you only give yourself what you think about. Jealousy comes from deep within; it just takes time to unfold.

Jealousy is an uncomfortable emotion, but it's fairly normal. We all have minor insecurities and sensitivities that can cause us to feel jealous from time to time. Sometimes it arises when a person feels insecure about their relationship.

In some cases, jealousy can lead to open conversations with loved ones. Expressing your feelings of jealousy to a partner or friend can facilitate communication and foster deeper understanding. Healthy discussions can lead to increased trust and the opportunity to work together to address concerns.

Maybe jealousy isn’t an apt descriptor, more like envy. I ask myself why can’t I be succeed like them? Why can’t life give me what I want? I don’t outwardly show disdain for my friends and family, but inside I feel as though I’m drowning. The only person I truly do not feel this way is towards my partner, because subconsciously I view him as an extension of myself.

I obviously have a lot of work to do. I will be seeking a new therapist, but I would like some advice and anecdotes on how to overcome this gritty feeling.

While there may not be a cure in the traditional sense, many individuals can manage their symptoms effectively with appropriate treatment. What should I do if I think a loved one has Morbid Jealousy? Encourage them to seek professional help. Offer support and understanding while maintaining your safety and boundaries.

When it comes to navigating relationships, it’s imperative that you master how to stop being jealous of others’ success. Even bonds between friends, coworkers and family can become strained when jealousy enters the picture. When envy goes unchecked, it can wreak havoc on the ability to trust someone or even enjoy their company.

To heal relationships characterized by insecurity and dominance, it’s critical to understand what causes jealousy in the first place so those triggers can be eliminated. The answers are within you, and finding them will set you free to enjoy relationships built on trust and equality.

Battling disinformation in the age of social media

 

The topic of free speech regulations in the Philippines has been a hot issue recently, with the three committees (Tricom) of the House of Representatives conducting a series of hearings. The Congress hearings were looking into the regulation of online content creation to curb the spread of disinformation and misinformation on social media. However, concerns have been raised about the constitutionality of such measures, as free speech and expression are rights guaranteed under the 1987 Constitution.

The weaponization of social media to mislead Filipinos alarms me. Once hailed as a powerful tool for democratizing information and empowering citizens, social media has increasingly taken on a double-edged role in the Philippines. The systematic spread of disinformation has been made possible by the rise of coordinated networks of fake accounts, troll farms, and algorithm-driven echo chambers. This is not merely about harmless misinformation — it is a deliberate effort to distort facts, manipulate public opinion, and sow division. Politically motivated interest groups, both domestic and foreign, have exploited the vulnerabilities of the online landscape to rewrite narratives, discredit legitimate voices, and even influence election outcomes. The erosion of truth on these platforms poses a serious threat to democracy, public trust, and civic engagement.

With 90.8 million active user identities on social media — nearly the entire population— the Philippines stands as one of the most deeply connected nations in the digital world. However, this vast digital engagement also exposes a large portion of the population to disinformation campaigns. These campaigns often originate from well-funded, politically aligned entities seeking to shape public perception for their ends. Many users lack the digital literacy skills needed to critically assess the information they encounter online, making them straightforward targets for manipulation. The rapid and viral nature of social media further amplifies these falsehoods, allowing misleading narratives to spread far faster than fact-based corrections can keep up. As a result, the country faces a growing challenge in safeguarding the integrity of public discourse and ensuring that citizens make informed decisions based on truth rather than propaganda.

The recent Tricom hearings have shed light on a troubling trend: the role of certain social media vloggers in spreading misinformation and engaging in black propaganda. Beyond the deliberate distortion of facts, what is equally disturbing is the manner in which these individuals conduct themselves online. Many exhibit a blatant lack of courtesy and respect, often resorting to personal attacks, name-calling, and inflammatory language. Such behavior undermines the credibility of public discourse and sets a poor example for the millions of Filipinos —especially the youth — who consume their content.

Social media personalities hold significant influence in today's digital age, and with that influence comes the responsibility to uphold ethical standards and promote respectful dialogue. Unfortunately, some vloggers have weaponized their platforms to do the opposite.

Another glaring concern is the frequent use of vulgar language and expletives in these vlogs. Instead of engaging in rational discussion or constructive criticism, some vloggers resort to shouting profanities and using crude, offensive language to provoke or humiliate others. This kind of content pollutes the online space and reflects poorly on the values we hope to uphold as a society. The normalization of such behavior can desensitize viewers to verbal aggression, potentially encouraging a culture of intolerance and disrespect.

Filipino culture is deeply rooted in values of respect, decency, and civility — qualities that are expected to be reflected in both private and public life. The aggressive and often profane behavior exhibited by some vloggers starkly contradicts these cultural norms. While freedom of expression is a right, it must be exercised responsibly and with sensitivity to the values that bind our communities together. Digital influencers must be held accountable for their content and how they interact with the public. If left unchecked, this erosion of civility online could spill over into real-world interactions, further deepening divisions and undermining social cohesion.

During one of the hearings conducted by the Tricom, two vloggers issued apologies to House lawmakers after being presented with evidence that contradicted their earlier claims. One of the vloggers had asserted that the extrajudicial killings (EJKs) linked to the Duterte administration’s war on drugs were merely a “hoax.”

There were also allegations that critics of former president Rodrigo Duterte were being funded by drug cartels, terrorist groups, and corrupt politicians. The proceedings thoroughly debunked these baseless accusations, amplified through social media, prompting the vloggers to retract their statements. The Tricom cited three vloggers for contempt and ordered their detention after they repeatedly evaded the inquiry.

While it remains uncertain whether the government will move to regulate social media content, there is a growing consensus that any such regulation could face significant legal challenges and may be deemed unconstitutional. This situation highlights the delicate balance that must be struck between combating disinformation and safeguarding the fundamental right to free speech. Addressing the harms caused by online falsehoods is necessary, but it must be done in a way that upholds democratic principles and respects constitutional protections.

The role of social media platforms in moderating content also raised questions. One legislator highlighted the absence of laws regulating these platforms, noting, for example, that Meta — the parent company of Facebook and Instagram — does not have a headquarters in the Philippines. It was further pointed out that there are no existing regulations that define the duties and responsibilities of social media platforms toward content creators and advertisers. This regulatory gap raises concerns about accountability, particularly in the context of disinformation and the monetization of harmful content.

The Tricom has yet to conclude its hearings, but there is hope that these proceedings will lead to concrete action in addressing the widespread proliferation of disinformation and misinformation. The unchecked spread of false narratives has created a kind of disinformation anarchy —where facts are distorted, trust in institutions is eroded, and public discourse is poisoned.

To read more article. Click the web link below:

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Filipino ‘komiks’ are traveling the world

BY NENI STA. ROMANA CRUZ

APRIL 26, 2025

Paolo Herras of Komiket at Leipziger Buchmesse —CONTRIBUTED PHOTOS

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Is it almost rude to ask why the phenomenal success of the komiks/graphic novel genre by our Filipino talents is attracting international readers?

We are preparing for the country to be Guest of Honor (GoH) at the Olympics of book fairs, the Frankfurter Buchmesse on Oct. 15 to Oct. 19, with our participation led by the Office of Sen. Loren Legarda, the National Commission for Culture and the Arts, the Department of Foreign Affairs, and the National Book Development Board (NBDB). As we count the number of translated titles we will proudly display at the fair, we cannot help but be impressed at the record-breaking 96 rights sold by our graphic novels to date. (“Rights sold” means bought by a foreign publisher for reprinting in a foreign language.)

Translations, whether through the NBDB’s Translation Subsidy Program for foreign publishers or through independent initiatives, are important for our GoH presence as it bridges the gap between our Filipino writers in English and in our 183 living languages, allowing them to reach a global audience.

The story of the journey of the graphic novel is interesting as it allows other genres to learn from its lessons. Not a walk in the park, as Komiket publisher Paolo Herras will be the first to admit. The first time he was at the Frankfurter Buchmesse in 2021, he sold nothing, but he learned to do his research on which countries sold comics, art styles, and gave grants.

As Komiket publisher, Herras encouraged the community to publish books longer than the 96- to 128-page range. Then, the group conceived the first Philippine International Comics Festival, drawing attention to high-quality komiks. Herras has every reason to take pride in the fact that “it is the only comics festival in the world that has an official selection of ten graphic novel pitches … published and launched in time for the festival, made available through Komiket’s komiks art markets and online bookstore, and represented in international book fairs and comics festivals.”

Angouleme

Herras and Komiket also discovered that the entry to the European market was through the Angouleme International Comics Festival and Rights Market, as France is the gateway to Europe—nay, even the rest of the world—as it is the go-to country for comics. Thus, the NBDB support for Philippine participation in Angouleme for the past two years now.

Jay Ignacio signing “Alandal” for a fan in Leipzig

Two other prominent figures in the field attempt to explain the phenomenon. Jay Ignacio, whose “Alandal” was the very first graphic novel sold by Komiket for a German edition, explains the popularity of Philippine graphic novels, crediting the tradition in the country: “Our komiks tradition was taken from the American comic strips, but one can say that it really began in 1929 when Tony Velasquez created ‘Kenkoy.’ Since then, numerous publications have had their own strips, and later, they came up with more serious serialized stories. The 1950s and the 1960s are considered to be the ‘Golden Age’ of Filipino komiks, and the leader of the pack was Francisco V. Coching.”

He continued, “What’s unique to the Philippines is the style of illustration, one that the Americans referred to as the ‘Filipino style.’ The drawings are very detailed, the backgrounds are lush, and the illustrators worked very fast, as thousands of titles were published weekly. Also, they were masters at using the Chinese brush, which lent their illustrations a special character that pencillers could not emulate.”

A lot of the komiks buyers he met at the Leipziger Buchmesse knew nothing about the Philippines, but the art drew them in and stirred their curiosity. “Some were impressed with the komiks they bought from previous events abroad, and they wanted more. There’s also no denying the strength of both Gerry Alanguilan’s “Elmer” and the “Trese” franchise that opened doors for the rest of us komikeros,” said Ignacio, who is a musician, documentary filmmaker, actor, and improv theater veteran. He is working at present on a much-awaited documentary on Pinoy komiks. He was a guest author at the GoH press conference in Berlin, and his “Alandal” inspired a musician to compose a companion piece as an original crossover.

Renren Galeno, creator of the best-selling “Sa Wala”

Age-old art

Renren Galeno is a young, shy, highly talented visual artist from Davao. Discovered online by the Washington Post, she went on to illustrate and win the 2024 Pulitzer Prize Finalist for “Searching for Maura.” To date, Galeno’s “Sa Wala” is the best-selling graphic novel in the list below.

Galeno speaks of the popularity of komiks as age-old sequential art to tell stories, “imbued in every culture, from the cave paintings to the bas reliefs on temples.”

Komiks are very accessible, being primarily a visual medium. And happily for her, “The drawings offer a layer of nuance that could have otherwise been lost in translation, allowing more of the work to remain ‘intact,’ so to speak.”

All is not sweetness and light for komikeros. As Galeno says with candor, “They are difficult to make and do not pay well.” This is a situation the creatives in the country are all too familiar with.

At the recent Leipziger Buchmesse, Herras led the session “Filipino Komiks Traveling the World.” He drew up the top 15 translated titles with the respective foreign editions they have, pointing out that these rights were also sold by the French agents of “Elmer,” the US editions of Tuttle were sold by Jamie Bautista, while Ablaze was mostly through the efforts of Avenida publisher Nida Ramirez.

A brief description of the storyline has been included so that you, the Filipino reader, may be lured to discover them, too, as worldwide readers have.

“Sa Wala” by Renren Galeno

Germany, France, Egypt, Myanmar, Brazil, Czech Republic, Russia, and Spain

Anding finds a mysterious rooster with uncanny strength who brings him luck in cockfighting. But its thirst for blood spells doom.

“Trese” by Budjette Tan and Kajo Baldisimo

USA, France, Germany, Italy, Spain, Brazil

This series revolves around Alexandra Trese, a detective solving supernatural crimes in Manila. Drawing from Philippine folklore, it features creatures like the tikbalang and aswang, blending dark fantasy with crime and horror. It was adapted into a Netflix animated series, drawing attention to our graphic novels.

“Elmer” by Gerry Alanguilan

France, Germany, Italy, Singapore, Myanmar

Akin to George Orwell’s “Animal Farm,” chickens gain human-level intelligence and fight for equal rights.

“Death Be Damned” by Mike Alcazaren, Noel Pascual, AJ Bernardo

USA, Germany, France, Egypt

This tale follows Miranda Coler, who cannot die until she avenges her family’s murder. Each time she’s killed, she loses a part of her memory.

“Alandal” by J. Philip Ignacio

USA, Germany, Myanmar

Set in 1774, this story follows Sabina, the daughter of a Spanish conquistador, who is abducted by pirates and taken to Jolo. There, she discovers her heritage as the granddaughter of the Sultan of Sulu and meets a mysterious swordsman named Alandal.

“Strange Natives: The Forgotten Memories of a Forgetful Old Woman” by Paolo Herras and Jerico Marte

Germany, France, Italy

This anthology series delves into themes of memory, culture, and identity. One story, “The Forgotten Memories of a Forgetful Old Woman,” follows Grasya, an elderly woman grappling with lost memories, serving as an allegory for the Philippines’ forgotten native culture.

“Josefina” by Russell Molina and Ace Enriquez

Germany and Myanmar

This graphic novel reflects Filipino realities and culture, exploring themes like discrimination and apathy.

“Maharlika” by Rexy Dorado and John Ray Bumanglang

Italy and Denmark

Set in an alternate timeline, this reimagines the Philippines as a global superpower. It combines sci-fi, mystery, and Filipino culture, following characters navigating a futuristic yet gritty world.

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Bookstore holds exhibit by women printmakers

“Lucia Dreaming” by Lucia Asul

France and Egypt

This takes readers through seven surreal dreams, blending entrancing and eerie elements. It’s a visually stunning exploration of familiar places, such as alleyways and sari-sari stores, and eventually finds their way back to their old home, uncovering bittersweet truths about their subconscious.

“My Ghost, Where’d You Go” by Dione Kong

France and Egypt

A poignant graphic novel that follows the journey of a little ghost navigating existence, loss, and memory. The story is set in a world of simplicity, with black, white, and yellow as its defining color palette.

“Depikto” by Ruvel Abril

Germany

This is a psychological mystery graphic novel that delves into the eerie and mind-bending experiences of Paco Lazaro. He receives an invitation to an art exhibit where every painting depicts private moments from his life.

“Niño Bughaw” by CJ Reynaldo

Netherlands

This story follows Niño Bughaw, a deaf weather engkanto (spirit) who embarks on a journey to save his parents from an evil stormy engkanto.

“Cautionary Tales From a Filipino Childhood” by Bambi Eloriaga-Amago and Roland Amago

Germany

A collection of eerie and entertaining tales inspired by Filipino folklore, featuring mythical creatures like manananggal and anting-anting hunters.

“Doobiedoo Asks” by Bambi Eloriaga-Amago and Roland Amago

Turkey

A semi-autobiographical graphic novel about a boy named Doobiedoo, who discovers he is on the autism spectrum. It explores his parents’ journey to support him and help him thrive.

“The Fireflies of Crimson Ashes” by RH Quilantang

Italy

Set in a post-apocalyptic world, this story follows Stella, a young girl who dreams of becoming a tanod (warden) like her mother, as she learns the significance of the fireflies in Crimson Ashes.