Ang Aninag

Kinoronahan sina Achi Regner at Wish Llodriga bilang King of Hearts at Queen of Hearts, habang sina Cian Casis at Tifa Caringal ay itinanghal bilang Jack of Hearts at Jewel of Hearts. Iginawad naman kina Charlie Aro at Jairus Retuya ang Wild Cards of Style.

Nagbigay-aliw naman sa mga panauhin ang mga soloist na sina Charlie Aro at Vannah Almero, at ang mga bandang GWOM at °Fahrenheit. Bukod pa rito, inihanda ng Batch 2029 ang isang bidyo para sa Batch 2028 upang magbalik-tanaw sa kanilang mga alaala bilang paggunita sa kanilang senior year. 

Tampok din sa programa ang Bequeathal Ceremony, kung saan ipinasa ni Angela Masangkay, Pangulo ng Senior Council (SC), ang Key of Responsibility kay Elin Lim, Pangulo ng Junior Association (JA). Ipinasa naman ni Kevin Chan ang Torch kay Liv Florendo, na parehong miyembro ng UPIS Varsity Swimming Team, habang ipinagkatiwala ni Princess Espino ang Banner of Excellence kay Kristine Bariuan, na  na parehong kinilala para sa kanilang akademikong husay.

Nang tanungin tungkol sa kaniyang paboritong bahagi ng Vermillion, sinabi ni Tifa Caringal, “My favourite part of the night was the open dance floor where everybody could just go up there and have fun with no judgement from others. I think that truly made the prom successful, when everybody could just gather together and be themselves at the end of the night, making it a very magical and memorable experience." 

Ayon kay Elin Lim, ang pag-organisa ng Vermillion ay hinamon ng kakapusan sa oras at miscommunication dulot ng pagdaos nito sa gitna ng semestre. Sa kabila nito, hindi naging hadlang ang mga ito sa pagkamit ng tagumpay ng Vermillion. 

“We did not let these hurdles keep us down, and instead we learned and were able to adjust and improve for the better,” dagdag ni Lim. 

Between the mission’s launch on April 1, 2026, and splashdown on April 10, 2026, the Artemis II crew made history, setting the record for the farthest human spaceflight. Notably, mission specialist, Christina Koch, became the first woman to venture into deep space, breaking the record for the greatest distance a woman has traveled from Earth.

Upon their return, the four astronauts received great recognition for their outstanding accomplishments. The general public expressed its praise for the team and their significant contribution to the advancement of astronomical studies. However, as a woman in a male-dominated field of hard science, Koch became victim to misogynistic remarks alongside the acknowledgement of her achievements. The mission’s success and widespread publicity became a platform for belittling and deprecating anti-female comments, proving once again that sexism prevails even in the professional setting of academic research, especially in the rigorous study of astronomy.

The history of misogyny in professional fields

Misogyny has been prevalent in societal standards and norms for decades. In the early nineteenth century, archival records documented that women were rather active in science, but were rarely acknowledged by scientific journals and publications for their contributions to the discipline. It was recorded that female practitioners were often either working in low-skilled positions under male-dominated fields, or clustered in feminized subfields like botany, public health, and home economics (Tonn, 2020).

Retracing digital collections dating all the way back to the 1950s, it is evident that sexist culture and beliefs had constantly been demonstrated and heavily encouraged by advertisements, promotional images, and reports in the United States. These materials would contain portrayals of men as the actual scientists at work, and women as mere extensions of machines, often having them displayed on publicity photos for scientific instruments solely to imply that the equipment could be used by anyone with ease (Ortenberg, 2018). As an example, Beckman Coulter, Inc., an American manufacturing company that develops products relevant to biomedical testing, released an advertisement for their new spectrophotometer in 1957 featuring a woman, claiming that it was an instrument that “any lab could afford—any technician could operate.”

Companies would also customarily categorize educational toys using separate advertisements to showcase sets intended for all children and sets intended for only girls.

Promotional materials featuring male characters would indicate that these products were for everyone, while those with female characters would market products that were particularly feminine.

Additionally, to sell science kits, boys were often pitched the idea that their discoveries would bring intellectual satisfaction to the sciences, while girls were offered the possibility of becoming support staff rather than principal investigators (Onion, 2012). There was a stark contrast between the natures of some of the toys themselves, whereas masculine sets were based off of chemistry lab instruments, and feminine sets were designed to mimic cosmetic sciences.

Supporting this, a study surrounding the difference in gender representation among Philippine television advertisements conducted by Michael Prieler and Dave Centeno in 2013 analyzed 254 pieces of promotional content from 2010. The results of this research revealed that advertisements typically showed more males in the workplace, and more females at home (Prieler & Centeno, 2013). Materials that used women as their focal point usually only promoted items for household maintenance like dishwashing liquids, and personal hygiene products such as cleansing creams.

For years, institutions have been marketing sexism to the masses in both subtle and blatant manners. Unbeknownst to us, the narrative that men are more fit for work than women remains at the forefront of media, even in today’s society. This underlying message repeatedly reminds women that they do not belong in the sciences (Ortenberg, 2018).

The effect of misogyny on female scientists and students

The culture of sexism surrounding science and other academic professions affects women practitioners a lot more deeply than can be perceived externally by society.

According to a report conducted by the National Academies of Sciences, Engineering, and Medicine in 2018, a majority of female students taking up courses under science, technology, engineering, and medicine (STEM) in the University of Texas have experienced being harassed by faculty members or staff. In line with this, these students also have higher rates of disengagement with their studies.

Sexual harassment has become a primary factor in the decision of countless women to abandon the sciences, proving to be detrimental to the career development of female scientists. As a result of assault and gender-based beratement, students are discouraged from further pursuing the discipline, and many practitioners prefer to simply let go of their career paths and give up scientific research entirely (Witze, 2018).

Once misogyny bleeds through professional barriers amongst colleagues in the form of violence and harassment within academic spaces, women are no longer safe in fields of scientific study.

The manifestation of sexism in public reception of astronomical research

Aside from the internal gender-based harassment that already occurs in the workplace, women in science also receive outside disapproval due to misogynistic mindsets. With social media as a catalyst, netizens witness no hurdles in publicizing sexist comments about female scientists whenever their work is publicly recognized.

Recalling Christina Koch’s experience with the public eye, it can be observed how tactless and blunt these remarks truly are. Under each post or news article that had been released about the Artemis II, there were a number of comments bringing attention to Koch and the fact that she is a woman.

Crudely, some social media users hypothesized that Koch was only deployed for the mission to sexually satisfy the male crew members (Neperud, 2026). As evidence, a comment under an Instagram reel of the crew on their way to their spacecraft’s launchpad read, “Women so they don’t get bored in space?”

Not only were inappropriate sexual remarks directed to the female astronaut, statements questioning Koch’s qualifications were also shared by netizens. Abhorrent comments doubting her skill were left under the same previously mentioned video, an example being, “Hopefully the woman [is] not in control.”

When not objectified, the mission specialist was scrutinized. As of now, Koch has not publicly spoken about the sexist remarks addressed to her, but that does not imply that they have not affected her. Although she has also received a tremendous amount of love from the general public, it is still disappointing that some people are comfortable negating her efforts and achievements as a consequence of misogyny. Women should not be expected to find familiarity in endurance.

The future of female astronauts

There is still an apparent assumption that women are incompetent and inferior. Notably, in fields of hard sciences like astronomy, men frequently suppose that they are more knowledgeable than their female counterparts. Online discourse surrounding the proper use of scientific terms and references makes it clear that the participating men subconsciously entertain misogyny by maximizing all chances to correct women, believing that a man's opinions are more valuable than those of a woman, no matter how qualified she may be (Bates, 2016).

This phenomenon has become normalized in the modern age. Female scientists are often neglected and reduced to their gender in spite of the significance of the research they pursue. Although society has become immensely more progressive and women are currently given more recognition in scientific fields of study, most are still desensitized to misogynistic perspectives that quietly remain. The future generations of women in sciences are relying on the change that needs to be sought now.

We have to continuously discuss the contributions of women to science and scientific research in order to eradicate the deep-rooted sexism in academic spaces that disregards them. It is gravely necessary that we help amplify the voices of women who have been silenced by the culture of the disciplines in which they work. Appreciation cannot be properly given by the masses to a community that is not generally acknowledged for its capability to achieve what is perceivably impossible. Little by little, we must help female scientists, astronauts included, attain the professional commendation they deserve. We must remember: one small step for woman, one giant leap for womankind.

//by Mati Odulio

References:

Bates, L. (2016, September 13). Mansplaining: How not to talk to female NASA astronauts. The Guardian. https://www.theguardian.com/lifeandstyle/womens-blog/2016/sep/13/mansplaining-how-not-talk-female-nasa-astronauts

Haven [@mae.the.angel]. (2026, April 10). “We don’t need feminism anymore it’s 2026” [Photograph Slideshow]. TikTok. https://www.tiktok.com/@mae.the.angel/photo/7626934748241284382

Muñoz, C [@carlosbrknews]. (2026, April 2). Commander Reid Wiseman, pilot Victor Glover, and mission specialists Christina Koch and Jeremy Hansen — the crew of Artemis II — are now making their way to the launchpad [Video]. Instagram. https://www.instagram.com/reel/DWmWBv9jaWC/?igsh=enlrODA0d2dqaHgw

National Academies of Sciences, Engineering, and Medicine. (2018). [Bar graphs on reported forms of sexual harassment against female STEM students in the University of Texas].

Neperud, J. (2026, April 22). Women can’t escape misogyny, even in space. The Slate. https://www.theslateonline.com/article/2026/04/women-cant-escape-misogyny-even-in-space

Onion, R. (2012, November 13). Pink science, ‘50s-style. Slate Magazine. https://slate.com/human-interest/2012/11/pink-science-a-travesty-with-a-history

Ortenberg, R. (2018, June 22). It’s nothing new: Sexism in the lab. Distillations Magazine. https://www.sciencehistory.org/stories/magazine/its-nothing-new-sexism-in-the-lab/

Prieler, M. & Centeno, D. (2013). Gender representation in Philippine television advertisements [Abstract]. Sex Roles, 69(5), 276-288. https://doi.org/10.1007/s11199-013-0301-4

The story opens with a Science teacher and former molecular biologist, Ryland Grace, waking up from a long coma with no recollection of who he is, or how he is completely alone in a spaceship 11.9 light-years away from home. The movie takes its viewers on the same ship as Grace, having the story unfold before them as Grace regains understanding of his backstory and mission. This kind of storytelling is mainly what makes the viewers feel the humanity of Grace even deeper, processing his emotions with him in real time, perceiving him less of a fictional character and more of a peer. Ryan Gosling delivers a commendable performance playing as Grace, flawlessly blending comedy with depth, portraying not a hero—but a real human in the most extraordinary situations. The movie is praised for its impressive representation of humanity despite the fact that Grace is the only human character shown on screen for most of the movie.

Not far from the standard sci-fi concept of a smart scientist journeying the vast universe in hopes of saving Earth, the movie revolves around the same central theme. “Project Hail Mary” is the name given to the last-hope mission to preserve the Sun and other stars in the galaxy from dying to a star-eating interstellar alien microbe called Astrophage. But, what sets it apart from other sci-fi movies is the presence of an alien friend, Rocky—a stone-skinned engineer from the planet Erid who communicates using polyphonic musical tones.  It was also sent to space for the same reason as Grace; to save its own planet’s star. Not only are they bound by the same goal, but they are made closer by their experience of the same trauma and cosmic loneliness, both being the lone survivors in their respective ships in a foreign space outside their worlds.

The film humanizes Rocky in such a way that contrasts with the kind of humanity that we have all grown accustomed to our whole lives. Challenging the romanticized idea of sacrificing one individual for the eight billion as a noble act of humanity, Rocky comes into picture with nothing but unconditional willingness to sacrifice himself, and his entire mission for a similar individual—Grace. This shows a deep contrast between the humans, who viewed Grace as someone who is expendable and less important, and Rocky, who was selfless and humane enough to treat someone of a different kind with empathy. How can an alien understand a human better than another human can? Through the friendship of Grace and Rocky, the film highlights how far the power of relationship and connection is despite differences. It guides the viewers to reevaluate their definitions of sacrifice, responsibility, and choice; and what should be weighed with more value in a life or death situation.

Aside from Phil Lord and Chrishtopher Miller’s commendable movie adaptation of Andy Weir’s book and Ryan Gosling’s moving performance, the movie also gained praise for Greig Fraser’s artistic vision, completing the film’s cinematography with the use of practical effects, a limited use of CGI, and no green screen—shattering the usual visuals of science fiction films. In fact, to make Rocky appear more realistic, the filmmakers used a tangible, five-legged, rock-like puppet operated by a five-person team led by James Ortiz, making the interactions with Ryan Gosling more natural and personal. The spaceship was also physically built on set, allowing for an immersive filming. One of the most celebrated scenes online is the famous Petrova line scene, showcasing Astrophage as vibrant shining red dots around Grace. Filmmaker Christopher Miller shared that in order to create this visual, they built a cage made of chicken wire covered in infrared blinking red lights that looked invisible to the naked eye. He shared that filming it looked ridiculous on set, but spectacular through the camera lens without the infrared filter installed. To top it all off, Fraser created an item made of two glass panes and a funnel, and filmed it with a handheld camera while his assistant poured water into the funnel—adding a damp wet feeling to complete the visuals. 

A good story paired with superb acting, showcased through magical visuals and cinematography really is a powerful combination that sets its viewers free from the cages that humans often lock themselves in. Finding the perfect balance between physics, orbital mechanics, and biology with humor, sadness, and love is rarely ever successful in many films, but Project Hail Mary puts just the right amount of each element, and combines it all together with perfect mastery. The movie redefined bravery heroics through Grace—showing his shift from a reluctant and terrified teacher to a reliable saviour. It shatters the grand stereotype of the long line of brave heroes who voluntarily face danger head first. Grace proves that greatness can still be achieved in the presence of fear, recognizing responsibility and knowledge as powerful tools that lead to meaningful changes. 

Heart is the redeeming factor that took Project Hail Mary out of the repetitive orbit that most sci-fi films revolve around. Beyond all the technical science terms, it reminds us that progress does not come from isolation, but from connection. Science was never meant to stand alone. Meaningful progress comes from collaboration and the confidence to dare and try, no matter the uncertainties that lie ahead. The film reconciles us with the lost sense of hope and wonder that we once had in childhood, inspiring us to go back to reaching for the stars, and believing in the hail mary. 

In the last few weeks of concluding the academic year, the organization set out to turn MCLive into a sub-event in the recently designed SSH Fest. This gave opportunity for participants to immerse themselves in online seminars about editorial cartooning, photojournalism, and storymaking, then conclude the experience by celebrating the importance of social sciences and humanities through MCLive. “Since MakilahoC is the first-ever SSH Fest in UPIS, we really had to make plans from scratch, all while handling Sulyap (yearbook) and class pictures,” the Editor-in-Chief of the UPIS Media Center 2026, Miss Justice Aguinaldo, shared as the biggest struggle of organizing such a school-wide event. As MC 2026 was the first ever batch to hold MCLive as a culmination of the SSH Fest, encountering unforeseen setbacks for this first-time event was one of their greatest challenges.  

Miss Aguinaldo, also expressed how MCLive is made to be a platform for students to showcase artistic talents whether it be through singing, dancing, or poetry— in front of a live audience. This links to one of the event’s objectives which is to allow participants to remain politically aware of current issues whether it be through academic advocacies or through expression of one’s art.

The event hosted eight performances to turn the event full of spirit and to showcase the talents of UPIS students. The performances included student-formed bands Core of Spades, °Fahrenheit, MAGIN, Dog Youth, Smudge, CTRL-S; and solo performers Kei Bona and SoupBoy — some of whom already performed in this year’s Battle of the Bands. 

The event also featured several concessionaire booths, providing outlets for student-led initiatives and other vendors to share various products ranging from food, accessories, and interactive activities. The booths included Media Center 2027, Media Center 2028, Cookie Crafts, Beadbadoobead, Latinachos, Kriselda Freedom, Oh My Unnie, Manghuhula, and Aurt Fam.

“Planning wasn't easy, but I like to believe it brought out the best in us,” Miss Aguinaldo shared on how they handled and organized their last event together as UPIS Media Center 2026. Taking on new roles, pushing themselves beyond their comfort zones, and enhancing their individual abilities were all worth it as MCLive 2026 ended the students’ Friday night. 

Origins of the “bakla archetype”

In the Philippines’ pre-colonial era, perceptions on gender and sexuality were more flexible; those who were not gender-conforming were not marginalized and were, in fact, respected and treated as role models. Views regarding gender fluidity shifted when Christian morality was introduced. The topic of gender and sexuality became rigid and binary, and those who did not conform were demonized. The term bakla in the Philippines emerged during colonization, when gender-nonconforming individuals were pushed to the margins and had to find means to have their existence recognized in society. The entertainment industry became their gateway as they were tolerated in the condition that their non-conformity would be depicted merely as performance, comedy, and fiction (Caliguia, 2021). 

These kinds of ideologies would eventually manifest into the creation of the “bakla archetype” that we usually see onscreen today. The bakla is often characterized as a gay man who is flamboyant, feminine, and hypersexual (Brosas, 2022). They are also often depicted as the “Magic Gay Bestie” of a heterosexual protagonist, given the role of a “fairy godmother” whose purpose is to sprinkle rainbows onto the protagonist’s sad life. In scenarios where the main characters are in the process of accepting and obtaining a bolder version of themselves, it is their gay best friend’s duty to provide wisdom in the midst of their dilemma (DeFreitas, 2022). 

While it isn’t inherently wrong to have these traits, the problem arises when this kind of representation uses gay people only for comedic effect and depicts them as one-dimensional beings without nuancing the queer experience. There have been stories that portrayed the bakla to be a talunan or the underdog, entertaining the audience with their misery, and involved in subplots such as leading the gay man into thinking that there might be a possible relationship with a seemingly straight man. Seeing the bakla not get their happy ending onscreen exposed queer audiences, especially LGBTQ+ youth, to the culturally prescribed constraints of queer love—that the worthiness of love and happily-ever-afters is only suitable for heteronormative frameworks.

Queer representation in the now

Film writers and creators are often discouraged from exploring diverse, extensive, and nuanced queer narratives due to the idea of always wanting to be mainstream or “comprehensible” by the general public. Mainstream Philippine cinema is all about maintaining the status quo, as well as already familiar dynamics like third parties, heterosexual relationships, and long-lost family. Therefore, stereotypes get perpetuated, hence the comedic relief role being automatically designated to a queer character in the guise of “representation”. Queerness now becomes an amusement; it becomes odd and funny, because otherwise, a storyline would  not be as appealing when shown to mainstream audiences. The dominant heteronormative society demands that queer people entertain if they want to be accepted by the general public.

Media and film play powerful roles in molding public perceptions of different societal issues. Queer communities have been one of the, if not the strongest, foundations of Philippine modern culture. However, due to deep-rooted Catholic conservatism in the country’s ideologies, queer people have been in limbo between discrimination and social acceptance. Identity becomes difficult to navigate when one exists in a society where the mainstream media idealizes the confident, loud, and effeminate queer archetypes, while also still adhering to heterosexual norms. Media personalities such as Vice Ganda, Paulo Ballesteros, Allan K, and many others are embraced and celebrated in local media. However, oppression persists despite these, and the ordinary bakla experiences family rejection and moral policing at the dinner table, in the streets, and in public institutions. Representation then becomes a vital part in cultivating a safe environment for queer people, as young queer audiences turn to media to “see” themselves; media becomes a toolkit for “selfhood” (Buen et al., 2025)

In discussing queer representation in Philippine media, Joseph Staubhaar’s Cultural Proximity Theory provides an accurate explanation as to how important media representations are in fostering a healthy space for queer becomings. In his theory, he states that queer people often seek characters that mirror their true cultural and social experiences. Local television remains loved by people because it depicts stories that feel more relatable and closer to the country’s culture. Because of this, encouraging nuanced storytelling of queer characters will help dismantle stigmas and stereotypes revolving around gender and sexuality and will build a more empathetic environment. To erase the dignified storytelling of the true and deep queer narratives for the sake of “simplicity” reinforces biases and misconceptions. Encouraging complex depictions of queer characters in mainstream media holds great impact in catalyzing cultural change. The more it is ubiquitous, the more people are going to engage in difficult conversations, and the more traditional perceptions society unlearns.

Breaking the status quo 

One of the pioneers in bringing the LGBTQ+ representation into the mainstream is Vice Ganda, who slowly became a household name after being a host of a noontime show and starring in multiple box-office films. A program with a specific time slot where most people, especially families, bond together watching the television while eating lunch, it is monumental to see a gay man in the forefront of their TV unabashedly wear differently-colored wigs and feminine clothes everyday. It is validating for a lot of audiences to see that not only does the comedian have the ability to showcase queer culture and make the viewers laugh along the way, but also the courage to be outspoken on certain social and political issues on national television that may be considered taboo.

With all of this being said, it is undeniable that Vice Ganda benefited from playing the “bakla archetype” in most, if not all, of their movies. Their films also contained offensive stereotypes and jokes that may be considered politically incorrect today, which the comedian had recently apologized for, explaining that it was the type of humor they were accustomed to at the time and would not joke about now. Yet, what set Vice Ganda’s comedy movies further apart from the others was that they highlighted that it is also possible for the bakla to be the main character of their own story, emphasizing that gay people are also lovable and worthy of getting their happy ending. The comedian’s filmography also evolved from queer characters primarily making jokes to more serious roles, showcasing their depths and struggles as normal human beings, while still having the hint of comedy that the bakla was appreciated for in the first place.

Still a long way to go

Despite the progress in queer representation, it is still evident that Filipinos still treat queer people as jokes even beyond the screen, regardless of enjoying gay lingo and humor in mainstream media, and integrating them into everyday conversations. Queer people are still subjected to harassment and discrimination to this day, with no law protecting their mere existence. Simple acts like empowering queer characters in films to spark more conversations and discourse with peers will help cultivate a safer and more compassionate environment for many queer individuals in the country.

Queer representation in local media still has a long way to go, but it has indeed already come a long way. From the bakla being the sidekick or punching bag for comedic relief, we are slowly seeing the rise of various kinds of media, featuring different members of the LGBTQIA community, humanizing and presenting the struggles of the queer experience. From competition shows like Drag Race Philippines, where local drag queens can showcase their craft, to coming-of-age films showing young queer love like Rookie (2023) and 2 Cool 2 Be 4gotten (2016), unveiling more nuanced storytelling on LGBTQ+ themes serves as a stepping stone in dismantling stigmas and harmful perceptions towards the queer community.

Within the UPIS community, the breaking of walls in limited stereotypes has the potential to trickle down to the larger collective outside its walls. The culture of diversity in UPIS is a fertile ground for inclusion, not just tokenism. The integration of gender talk is manifested in the outputs of students in their media materials, class reports, and advocacies. Although realistically speaking, an all-out diverse space is still yet to be firmly established—as binary labels are still present in the student manual—the day-to-day ways of discussing amongst teachers, students, and staff say a lot more about its accepting culture. If people take a glimpse of the inclusive environment that the school has cultivated, we might serve as a template when it comes to the preparedness of the Filipino audience for the spectrum of roles and characters that non-heteronormative communities bring to the forefront and ignite change for the better. 

//by Diwa Cubelo & Athena De Los Reyes

SOURCES:

Buen, J.L. et al. (2025). Reflections in the mirror: Queer representation, compulsory heterosexuality, and media-based coping among LGBT Filipino youth. Researchgate. https://www.researchgate.net/publication/393331620_Reflections_in_the_Mirror_Queer_Representation_Compulsory_Heterosexuality_and_Media-Based_Coping_among_LGBT_Filipino_Youth. 

Brosas, M. R. (2022). Growing up with the on-screen bakla. Philstar Life. 

Caliguia, G. R. (2021). Rethinking Bakla: A keyword in Philippine conceptual, sexual, 

and social history. [Master’s Thesis, University of the Philippines Diliman]. Scribd.com. https://www.scribd.com/document/998920272/AbstractOnlyCaliguiaGR-2023-BaklaasKeywordinPhilHistoryMAThesisUPDilimanAsianCenter. 

DeFreitas, S. (2025). How (and How Not!) to Write Queer Characters: A Primer. Jane 

Friedman.com. https://janefriedman.com/how-and-how-not-to-write-queer-characters-a-primer/#:~:text=2.,one%20whose%20story%20actually%20matters. 

Kilala si Vice Ganda bilang gay icon ng Pilipinas na nag-ambag sa mas malawakang  pagtanggap ng LGBTQ+ community sa bansa. Nagsimula ang kanyang kasikatan bilang mang-aawit at komedyante sa mga comedy bar gaya ng The Punchline at The Library, bago lumipat sa telebisyon sa pamamagitan ng programang It’s Showtime, kung saan lalo siyang nakilala ng masa. Mula rito, sunod-sunod ang kanyang mga pelikulang komedya kung saan kadalasang inilalarawan ang “bakla” bilang pinagmumulan ng katatawanan—madalas din siyang nagiging target ng sariling biro at pangungutya. 

Sa paglipas ng panahon, kapansin-pansin ang unti-unting pagbabago sa kanyang mga pelikula. Mula sa paggamit ng kabaklaan bilang simpleng punchline, nagsimula nang pumasok ang mas seryoso at emosyonal na pagtalakay sa identidad, pamilya, at pagtanggap. Gayunpaman, hindi palaging diretso o ganap ang pagbabagong ito; kadalasang may tensyon sa pagitan ng komedya at mas malalim na representasyon.

Sa artikulong ito, iisa-isahin ang bawat yugto ng mga pelikula ni Vice Ganda upang suriin ang posibleng impluwensiya nito sa pagtingin ng lipunan sa LGBTQ+ community, gayundin ang paraan ng kanyang paglalarawan ng iba pang kasarian sa loob ng kanyang filmography.

Ang Simula: Katatawanan Bilang Sentro (2010-2013)

Una siyang bumida sa kanyang pelikulang Petrang Kabayo noong 2010, na siyang nagbunsod ng kanyang karera bilang komedyanteng artista. Makikita kahit sa simula pa lamang ng kasaysayan ng kanyang mga pelikula ang pagkakaroon ng magulang na tanggap ang kabaklaan ng kanyang anak. Sa kwento nito, gumanap si Vice bilang isang maldita at matapobreng queer na karakter. Karamihan ng mga tauhan sa pelikulang ito ay ayaw sa kanya dahil sa kanyang ugali, ngunit sa lahat ng mga insulto nila kay Vice, kadalasang nagiging punchline ang kanyang sekswalidad at kasarian. 

Hindi perpekto ang kauna-unahang representasyon ni Vice bilang pangunahing tauhan na bakla, sapagkat nagsusulong ito ng mga nakapipinsalang stereotype tungkol sa komunidad ng mga queer—perverted ang karakter ni Vice sa mga lalaking karakter sa pelikula, at basta-basta na lang naaakit sa kanila, para sa kapakanan ng komedya. Mapapansin ang pagkatulad nito sa kanyang mga susunod na pelikula. Maaaring makasama ang ganitong uri ng representasyon ng LGBTQ+ sapagkat nagbibigay ito ng ideya sa mga manonood na ganito rin ang pag-uugali ng lahat ng queer. 

Sa kanyang sumunod na pelikula, The Unkabogable Praybeyt Benjamin (2011), tinalakay ang ilan sa mga kinakaharap na mga paghihirap ng LGBTQ+ community, tulad ng rejection mula sa pamilya dahil lamang sa kanilang identidad, at ang pananaw na nakaiimpluwensiya ang kasarian at sekswalidad sa kakayahan ng isang tao. Bagaman, ang pangunahing karakter na si Benjie ay may pamilyang sumusuporta at tumatanggap sa kanya, mayroon pa ring nakahalong pagdududa sa kanyang kakayahan. 

May kapangyarihan ang komedya ng pelikulang ito sa kung paano nito ginamit ang humor bilang instrumento sa paglalantad ng isyung panlipunan. Ipinapakita nito na katawa-tawa ang mga kasalukuyang ideolohiya ng lipunan at ang mga baluktot nitong pananaw, at iniimbita ang mga manonood na pagtawanan din ito. 

Sa kabilang dako naman, maaaring natatabunan ng komedya ang seryosong mensahe ng pelikula at pinapagaan ang dapat na mabigat na isyu. Sapagkat komedya ito, maaasahang papanoorin ito ng mga tao upang maaliw at matawa, at posibleng hindi nila mamalayan at seryosohin ang tunay na mensahe na sinusubukang iparating ng kwento. 

Maliban dito, patuloy pa rin ang pag-usbong ng stereotypical na representasyon ng mga tauhang queer, bagaman mas toned-down na sa pelikulang ito. 

Nagpakita ng isang queer na relasyon sa pelikulang This Guy’s In Love With U, Mare (2012), kung saan tunay na nagmamahalan ang dalawang partido. Ngunit nang naghiwalay silang dalawa, naging obsessive naman ang karakter ni Vice, hanggang sa tinakpan niya ang mga dingding ng kanyang kwarto ng mga litrato ng kanyang ex. Nagbalak siyang kunin muli ang loob ng kanyang minamahal sa pamamagitan ng pagpapanggap na siya ay isang straight na lalaki upang linlangin ang babaeng fiance ng kanyang ex, para magkagusto siya sa tauhan ni Vice.

Mapapansin dito ang patriyarkal na pananaw ng pelikula ukol sa kasarian. Sa pelikulang ito, nakikita niya ang babae bilang karibal, madaling lokohin, at hindi tapat sa kanyang relasyon. Kaugnay rito, mas pinalaki nito ang mga nakapipinsalang stereotypes. Maituturing na obsessive ex ang karakter ni Vice, at maliban pa rito ay mapapansin ang bi-erasure kung saan hindi kinikilala ng mga karakter na maaaring magkagusto ang isang indibidwal sa parehong kasarian at sa ibang kasarian. Dagdag pa rito, ginagamit ang tema ng pagpapakamatay bilang komedya, na isang sensitibong usapin.

Kasunod na ipinalabas ang Sisterakas (2012) kung saan kapansin-pansin ang mensaheng “family comes first” sa ilalim ng slapstick humor at absurdong kwento. Makikita ang husay at karanasan sa komedya ang dalawang pangunahing karakter na ginampanan nina Vice Ganda at Ai-ai delas Alas. Ngunit mapapansin din na lubos na umaasa ang komedya nito sa pisikal na karahasan na karaniwang natatanggap ng tauhan ni Ai-ai.

Inilalarawan bilang isang flawed at queer na karakter ang tauhan ni Vice—hindi ideyalisado ang representasyon nito at hindi rin maiuugnay ang kanyang mga negatibong katangian sa kanyang kasarian at sekswalidad. Ipinapakita nito na tao rin ang mga queer—nagkakamali rin gaya ng iba—at nagbubunsod ng diskurso kung kailangan bang positibo palagi ang paglalarawan sa kanila. Sa kabilang banda, maaari rin itong makita bilang negatibong representasyon ng LGBTQ+ community.

Sa pelikulang ito, mas lumilitaw ang dinamika ng karakter ni Vice sa kasamang mga babae—dalawang babaeng karakter ang nagsisilbing pangunahing kalaban niya: ang kanyang kapatid at karibal na CEO. Bagaman may presensya pa rin ang isang lalaking pinagtatalunan, kapansin-pansin na hindi na ito ang sentro ng tunggalian; sa halip, nagiging mas mahalaga ang ugnayan at kompetisyon sa pagitan ng mga babae. Sa ganitong paraan, makikitang unti-unti nang kumakawala ang naratibo sa pag-asa sa male validation, kahit nananatili pa rin ito bilang maliit na subplot. Gayunpaman, nananatiling problematiko ang paglalarawan sapagkat sa huli, iniuugnay pa rin ang pinagmulan ng antagonismo sa impluwensiya ng ina—na tila naglilipat ng “sisi” sa isa pang babaeng karakter.

At sa huli ay ang pelikulang Girl, Boy, Bakla, Tomboy (2013), kung saan kapansin-pansin ang kakayahan ni Vice gumanap ng apat na magkakahiwalay na tauhan na may kani-kaniyang personalidad at identidad. Mahusay ang paghahatid ni Vice ng kanyang mga linya at ang kanyang pagsasagawa ng mga visual gags. Dagdag pa rito, may pinagsasaligang mensahe tungkol sa pamilya, pagpapabaya, at paghilom.

Ipinapakita rin dito ang dalawang queer na karakter na inaasahan ng kanilang pamilya na magtaguyod upang matugunan ang kanilang mga pangangailangan. Gayunpaman, kapansin-pansin ang paglalarawan ng babaeng karakter ni Vice bilang kontrabida at mapaghiganti—karibal muli ni Vice at kaagaw sa mga lalaki. Sa kabilang banda, inilalarawan niya ang kanyang lalaking tauhan bilang mas kalma at lohikal ang personalidad at siyang palaging nagsasaway sa kanyang kapatid na babae. Ang tomboy naman ay pinakita bilang mas mahinhin, rasonable, at mas sensitibo kumpara sa bakla na eksaherado, dramatiko, at mapanlait. Maliban dito, mapupuna pa rin ang tipikal na pisikal na karahasan bilang komedya at ang mga mapanlibak na biro patungkol sa kulay ng balat na na-normalize sa panahong iyon.

Sa pangkalahatan, nagtatalakay ng mga seryosong isyu ang mga pelikula ni Vice patungkol sa diskriminasyon laban sa queer community sa Pilipinas, ngunit kadalasan ay nawawalan ito ng bigat dahil sa hindi balanseng pagsasama ng sinseridad at komedya. Hindi lahat ng bisibilidad ay nakakabuti para sa komunidad, at minsan ay iba ang nagiging epekto ng mensahe kaysa sa orihinal na intensyon na nais iparating ni Vice.

Sa panahong ito, kapansin-pansin din ang paraan ng paglarawan ng ibang kasarian—lalo na ng kababaihan—na madalas inilalagay bilang kontrabida, karibal, o sentro ng biro. Kasabay nito, umiikot din ang ilang naratibo sa validation mula sa lalaki, kung saan ang romantic o emotional fulfillment ng queer character ay nakatali sa pagtanggap o pagmamahal ng isang male figure. Ipinapakita nito na kahit may pagtatangkang iangat ang representasyon ng queer identity, nananatili pa rin itong nakaugat sa mas tradisyunal at limitadong pananaw sa kasarian at relasyon.

Kasabay ng mga dinamikong ito sa kasarian, mahalaga ring mapansin ang paulit-ulit na pagbabalik ng ugnayan ng queer na karakter sa kanyang pamilya. Sa mga pelikulang tulad ng The Unkabogable Praybeyt Benjamin, Sisterakas, at Girl, Boy, Bakla, Tomboy, malinaw ang mataas na pagpapahalaga ng pangunahing tauhan sa kanyang mga magulang at pamilya—madalas ay handang magsakripisyo o magbago para sa kanila. Ang pamilyang ito ang nagsisilbing emosyonal na sentro ng naratibo, kahit pa ito’y puno ng tunggalian o hindi pagkakaunawaan. 

Sa ganitong paraan, nagsisimula nang mabuo ang isang mahalagang pattern sa filmography ni Vice Ganda: ang queer character hindi lamang bilang indibidwal na naghahanap ng pagtanggap, kundi bilang miyembro ng isang pamilyang patuloy na hinuhubog at pinapahalagahan, Ang temang ito ng pamilya ang magsisilbing tulay sa susunod na yugto ng kanyang mga pelikula, kung saan mas lilitaw ang kanyang papel bilang tagapag-alaga at tagapagsalo ng responsibilidad.

Paglitaw ng Responsibilidad: Alaga at Sakripisyo (2014–2017)

Mabilis ang pagsikat ni Vice Ganda sa industriya, lalo na ang kanyang mga matagumpay na pelikula. Maituturing na siya bilang isa sa mga highest-grossing na artista sa bansa. Sa kasunod na yugto ng kanyang filmography, mapapansin ang tema ng pagiging tagapag-alaga ng kanyang pamilya, kadugo man o hindi. 

Ang unang installment sa grupong ito ay ang The Amazing Praybeyt Benjamin (2014). Kumpara sa naunang pelikula nito, napatunayan na ni Benjie ang kanyang halaga bilang sundalo at nakamit ang respeto ng kanyang kapwa, pati na rin ang pagtanggap ng kanyang pamilya. Ipinapakita ng pelikula ang isang queer na karakter bilang parent figure at tagapag-alaga. Tinatalakay rin nito ang mga paksa tulad ng grief at abandonment, at isinusulong ang ideya na hindi nililimitahan ng kasarian at sekswalidad ang kakayahan ng isang tao.

Gayunpaman, nananatili pa rin ang ilang queer stereotypes sa tauhan ni Vice—over-exaggerated na emosyon, perversion, at pagbibiro sa kapinsalaan ng iba, pati na rin ang ilang fatphobic na komento. Dagdag pa ay hindi pa rin nawawala ang presensya ng isang lalaking pinagtatalunan niya at ang kanyang itinuturing “karibal” na babae.

Sinusundan ng Beauty and the Bestie (2015) ang tema ng paglisan ng magulang at ang pag-ako ng queer character sa responsibilidad ng pag-aalaga sa mga naiwang bata. Makikita rin dito ang sakripisyo ng karakter ni Vice upang suportahan ang kanyang mga pamangkin.

Dito, muling lumilitaw ang stereotypical na pag-uugali—perversion at ang ideya na kung ikaw ay lalaki, may gusto sa iyo ang iyong queer na kaibigan. Maliban dito, makikita rin ang prehuwisyo laban sa kababaihan—sa pamamagitan ng pag-iinsulto sa katawan at mga “nakatatawang” pangalan tulad ng “Miss Upanghet” at “Miss Hindi-Virgin Islands.”

Sa The Super Parental Guardians (2016), muling ginampanan ni Vice ang papel bilang tagapag-alaga, pinatitibay ang trope ng LGBTQ+ character bilang tagapuno ng kakulangan sa pamilya. Malinaw ang mensahe ng pagmamahal at pagtanggap, at mahusay ang pagganap ng mga artista, kabilang ang mga batang aktor.

Sinusubukan ng pelikula na maglakip ng panlipunang komentaryo sa pamamagitan ng paghahalo ng komedya at bahid ng politika. Ngunit, nagkukulang ito sa pagiging kritikal o satirikal sa politika at walang malinaw na tindig sa kung ano ang gusto nitong iparating. Para sa LGBTQ+ na representasyon naman, kapansin-pansin pa rin ang mga nabanggit na steryotipo tungkol sa queer community—pagiging maingay, pag-iinsulto bilang biro, agresibo, at lubusang sekswal. Mayroon namang emosyonal na lalim ang karakter, ngunit natatabunan ito ng mga exaggerated na mga katangian. 

Sa Gandarrapido!: The Revenger’s Squad (2017), nadagdagan ang tungkulin ng LGBTQ+ karakter ng pagiging bayani ng bansa, kasabay ng pagiging tagapag-alaga ng pamilya. Makikita rito ang lubos na pagiging malambing ng karakter ni Vice sa kanyang mas nakababatang kapatid na hindi niya kadugo—maraming payo at palaging pinapaalala na mag-ingat siya—hanggang sa maituturing siyang overprotective at nakakasakal para sa kanyang kapatid. 

Tinatalakay nito ang pamilya, pagkakasundo, at ang queer character bilang idolized figure. Dito, hindi sentro ang kanyang kabaklaan kundi ang kanyang personal na karanasan at trauma. Ngunit, kita pa rin ang pattern ng pagbibigay ng love interest sa mga karakter, lalo na si Kweenie, na ginampanan ni Pia Wurtzbach, at ang karakter ni Vice sa dulo ng pelikula.

Makikita sa panahong ito ang unti-unting pagbabago sa representasyon—nagiging mas makatao ang queer characters at ipinapakita na kaya nilang gampanan ang mga responsibilidad sa pamilya. Bagaman hindi pa rin perpekto, ito ay isang hakbang patungo sa mas malalim na pag-unawa at pagtanggap.

Bagaman nananatili ang ilang stereotype, mapapansin din ang unti-unting pagbabago sa paglalarawan ng ibang kasarian. Ang mga babaeng karakter, na dati’y madalas kontrabida o punchline, ay nagsisimula nang maging kakampi o bahagi ng support system ng pangunahing tauhan. Gayundin, unti-unting lumilihis ang naratibo mula sa pagtuon sa romantic validation—lalo na mula sa lalaki—patungo sa mas malawak na konsepto ng pamilya, responsibilidad, at ugnayang hindi nakasentro sa romantikong pag-ibig.

Pantasya at Realidad (2018–2022)

Sa yugtong ito, tila nasa rurok na ng kanyang kasikatan si Vice Ganda—malaki ang audience, siguradong-sigurado na kikita ang pelikula, at malinaw na ang kaniyang “formula,” o istilo ng pagbabahagi ng kuwento at mensahe. Ngunit dito rin mas naging kapansin-pansin ang limitasyon ng pormulang ito. Habang patuloy ang visibility ng queer characters sa mainstream, nagsisimula nang mapansin ang paulit-ulit na estruktura at ang kontradiksyon sa pagitan ng mensahe at ng mismong pagpapakita nito. 

Sa Fantastica (2018),  makikita ang malinaw na duality ng kanyang brand. Sa isang banda, si Vice ang sentro ng pelikula—siya ang nagdadala ng enerhiya, emosyon, at direksyon ng kwento. May pagtatangkang maglatag ng mensahe tungkol sa pagtanggap sa sarili at pagmamahal, na sumisilip sa ilang linya at eksena. Gayunpaman, ang mismong pelikula ay paulit-ulit na bumabalik sa mga birong mapang-insulto, body-shaming, at seksual na mga gag na nagpapahina sa mensaheng ito. 

Dito lumilitaw ang isang mahalagang ideya: ang queer character ay visible, pero hindi pa rin ganap na nirerespeto sa loob ng naratibo. Siya ang bida, ngunit siya rin ang biro. Ang linya ng karakter—”’Pag nagseryoso ba ako, mamahalin niyo ako?”— ay sumasalamin sa mas malalim na realidad: ang pagtanggap ay kadalasang may kondisyon. Kailangan mong maging nakakatawa, nakakaaliw, at magaan para tanggapin ka.

Sa The Mall, The Merrier (2019), nagpapatuloy ang parehong padron. May potensyal sana ang konsepto—ang mall bilang simbolo ng consumerism at modernong kulturang Pilipino . Ngunit, nananatili lamang ito bilang background o simpleng tagpuan. Sa halip na maging isang matalim na komentaryo, nauuwi ang pelikula sa pamilyar na halo ng slapstick comedy at family drama.

Gayunpaman, may isang paulit-ulit na tema na mas luminaw dito: ang queer character bilang haligi ng pamilya. Siya ang tagapamagitan, tagasalo ng problema, at madalas ang pinaka-nagsasakripisyo—ngunit hindi rin ganap na pinapahalagahan. Ito ay sumasalamin sa konsepto ng “invisible labor,” kung saan ang kontribusyon ng isang tao ay mahalaga ngunit hindi kinikilala.

Sa Partners in Crime (2022), may bahagyang paglihis mula sa nakasanayang porma. Mas toned-down ang seksual na biro at mas nakatuon sa relasyon—lalo na sa mga tema ng pag-iiwan o pagtatakwil, pagbabati, at tiwala. Ang karakter ni Vice ay may mas malinaw na emotional core: takot sa pagiging katulad ng isang taong nawalan ng koneksyon sa pamilya dahil sa sariling ambisyon.

Bagamat nananatili ang ilang elemento ng komedya at exaggeration, makikita dito ang unti-unting paglipat mula sa purely comedic persona tungo sa mas layered na karakter. Hindi na lamang siya tagapagpatawa—isa na rin siyang taong may takot, panghihinayang, at kagustuhan o pangangailangan na bumalik sa pamilya.

Sa kabuuan, ang panahong ito ay nagsisilbing transitional phase ng mga pelikula ni Vice Ganda. Nananatili ang mataas na visibility ng LGBTQ+ na mga karakter, ngunit nagsisimula nang mabunyag ang kakulangan sa lalim at inobasyon. Ang queer character ay patuloy na sentral at makapangyarihan sa naratibo, ngunit nakatali pa rin sa isang pormulang paulit-ulit at minsan ay sumasalungat sa sarili nitong mensahe.

Sa yugtong ito, mas lalong humihina ang presensya ng tradisyunal na “love story” bilang sentro ng kwento. Sa halip, napapalitan ito ng mga naratibong nakatuon sa pamilya, personal na pag-unlad, at emosyonal na koneksyon na hindi nakadepende sa romantic validation. Kasabay nito, mas nagiging balanse rin ang pagtingin sa ibang kasarian—hindi na lamang sila antagonistic figures, kundi bahagi ng mas komplikadong ugnayan sa loob ng kwento.

Mas Malalim na Pagtingin: Pagbabago ng Naratibo (2022-2025)

Dito nagsisimula ang tuluyang pagbabago ng “formula.” Hindi na sapat ang visibility—kailangan na ng lalim, nuance, at pananagutan sa kung paano ipinapakita ang queer identity.

Sa And The Breadwinner Is… (2024), malinaw ang shift mula sa “bakla bilang punchline” tungo sa “bakla bilang tao.” Si Bambi ay hindi na lamang comic relief; siya ay pagod, pressured, at emotionally stretched. Ang kanyang monologong “kung huminto ako, sinong gagalaw?” ay naglalantad ng bigat ng pagiging breadwinner at ng expectation na laging magbigay ang queer family member.

Mas nagiging grounded ang representasyon: hindi na karikatura kundi isang tao na nakararamdam ng pagkasala, may responsibilidad, at limitasyon. Gayunpaman, dala pa rin ng pelikula ang lumang porma—ang biglaang paglipat mula drama pabalik sa komedya ay nakakaapekto sa lalim ng mga eksena. Maraming temang sinubukang talakayin, ngunit hindi lahat ay nabigyan ng sapat na espasyo.

Sa kabila nito, ito ang malinaw na turning point: mula stereotype patungo sa humanity.

Mas lalo itong naituwid sa Call Me Mother (2025). Dito, halos tuluyan nang iniwan ang exaggerated comedic persona ni Vice Ganda. Ang kanyang karakter na si Twinkle ay isang ganap na magulang—mapag-aruga, flawed, at vulnerable.

Ang sentral na tanong—ano ba ang tunay na pagiging ina: dugo o pag-aaruga?—ay hindi sinasagot sa simpleng salita. Sa halip, ipinapakita ang komplikasyon nito sa pamamagitan ng relasyon nina Twinkle at Mara. Pareho silang may karapatan, pareho silang may pagkukulang, at pareho silang may pagmamahal.

Mahalaga rin ang representasyon dito: ang queer parenthood ay hindi na biro o novelty. Isa na itong lehitimong anyo ng pamilya na kailangang ipaglaban laban sa sistemang hindi agad kumikilala rito. Hindi na lamang nagsasakripisyo ang queer character—hinihingi na niya ang karapatan niyang kilalanin. 

Kung ang mga naunang pelikula ay puno ng kontradiksyon, dito nagiging mas buo ang mensahe. Ang queer identity ay hindi na nakatali sa pagiging nakakatawa o entertaining. Ito ay ipinapakita bilang kumpleto—may lakas, kahinaan, at dignidad.

Sa kabuuan, ang panahong ito ang nagmamarka ng pinakamalinaw na ebolusyon sa filmography ni Vice Ganda. Mula sa visibility na walang lalim, patungo sa representasyong may intensyon at saysay.

Sa puntong ito, malinaw na hindi lamang ang mga pelikula ang nagbabago—pati ang mismong tindig ni Vice Ganda bilang storyteller. Mula sa mga naratibong umaasa sa stereotype at external validation, lumilipat siya sa mga kwentong mas nakatuon sa dignidad, relasyon, at pagkilala sa sarili at sa iba. Dito mas nahahayag ang kakayahan ng sining na hindi lamang sumalamin sa lipunan, kundi unti-unting baguhin ang pananaw ng mismong lumilikha nito.

Sa pangkalahatan, hindi maikakaila ang ambag ng mga pelikula ni Vice Ganda sa pagdadala ng LGBTQ+ representation sa mainstream na pelikulang Pilipino. Sa isang industriyang matagal nang konserbatibo, nagawa niyang ilagay ang isang queer na karakter sa sentro ng kuwento—hindi bilang sidekick, kundi bilang bida. Para sa marami, siya ang naging unang “mukha” ng komunidad na kanilang nakita.

Ngunit hindi sapat ang pagiging visible lamang.

Sa mga naunang yugto ng kanyang filmography, malinaw na ang representasyon ay kadalasang nakasandig sa stereotype—ang bakla bilang katawa-tawa, maingay, at laging handang gawing biro ang sarili. Kasabay nito, lumitaw din ang iba pang problematikong portrayals: kababaihan na binababa sa kanilang pisikal na anyo o ginagawang punchline, at mga bata na minsan ay inilalagay sa mga papel na inuulit ang parehong stereotype para sa komedya. Ang ganitong mga representasyon, kahit nakakatawa sa unang tingin, ay may epekto—inuulit at pinapatibay nito ang mababaw at minsan ay mapanirang pagtingin sa iba’t ibang sektor ng lipunan.

Sa paglipas ng panahon, makikita ang malinaw na pagbabago. Unti-unting lumalim ang kanyang mga karakter—mula sa pagiging punchline tungo sa pagiging tao: may responsibilidad, pagod, at emosyon. Sa mga huling pelikula, mas naging maingat ang paglapit sa mga temang tulad ng pamilya, identidad, at sakripisyo. Dito nagsisimulang makita ang mas responsableng representasyon—hindi perpekto, ngunit mas may kamalayan.

Gayunpaman, ang pag-unlad na ito ay hindi nangangahulugang nabura na ang mga pagkukulang. Nananatiling mahalaga na kilalanin ang parehong progreso at problema. Sapagkat sa isang medium na kasinlawak ng pelikula, ang paraan ng pagpapakita ng mga karakter—lalo na ng mga marginalized na grupo—ay may direktang impluwensya sa kung paano sila nakikita at tinatrato sa totoong buhay.

Sa huli, ang filmography ni Vice Ganda ay maaaring ituring bilang salamin ng mas malawak na kalagayan ng Philippine cinema: puno ng aliw at impluwensya, ngunit patuloy na hinahamon na maging mas responsable, mas inklusibo, at mas malalim.

Mahalaga ring makita na ang pagbabagong ito ay hindi lamang nangyari sa loob ng kanyang mga pelikula, kundi sa kanyang mismong pagtingin sa iba’t ibang kasarian at relasyon. Kung sa mga naunang yugto ay nakasentro sa stereotype, antagonismo, at romantic validation ang kanyang mga kwento, sa mga huli ay mas nangingibabaw na ang pagkakapantay-pantay, ugnayang hindi nakatali sa romansa, at mas makataong pagtingin sa bawat karakter. Sa ganitong paraan, makikita na ang ebolusyon ng kanyang filmography ay kasabay ng ebolusyon ng kanyang pananaw bilang isang artist.

Ang tunay na layunin ng representasyon ay hindi lamang ang makita—kundi ang makita nang tama. Ang visibility na walang respeto ay ingay lang—hindi pruweba ng pag-unlad.

WIDE ANGLE: Campus Life Struggles 

These films tackle systemic issues and the hard work it takes to succeed in school. If you want a realistic and wider look at the struggles and challenges of being a student, these films are for you.

Like Stars on Earth (India, 2007)

Ishaan Awasthi (Darsheel Safary) is a young boy often dismissed as lazy or a troublemaker, though his world is actually filled with wonders that no one else sees. After struggling to meet the demands of his traditional classroom, he is sent away to a boarding school where he feels more isolated than ever. His life begins to change with the arrival of a new art teacher, Ram Shankar Nikumbh (Aamir Khan). Unlike the strict instructors before him, Nikumbh notices Ishaan’s unhappiness and works to uncover the cause. With patience and genuine care, he helps Ishaan finally find his place in the world.

If you liked Freedom Writers (2007) and Gifted (2017), then Like Stars on Earth is definitely a watch because it delivers emotional storytelling about a misunderstood child, the education system, and a journey of self-discovery through the help of a teacher who sees his potential.

2. 3 Idiots (India, 2009) 

Two friends set out to find their long-lost friend, revisiting their college days. Farhan (R. Madhavan) and Raju (Sharman Joshi) reminisce about their time with Rancho (Aamir Khan), a genius with a playful spirit who inspired them to think differently. Together, the three were a constant headache for their uptight dean, exploring the pressures of an unfair school system through their unbreakable bond.

If you liked Dead Poets Society (1989) and Pisay (2007), then 3 Idiots is definitely a watch because of its critique of traditional education, its balance of comedy and depth, and its powerful message about learning driven by passion instead of pressure.

3. Bad Genius (Thailand, 2017)

Lynn (Aokbab Chutimon) is a brilliant student who begins helping her wealthy classmates on exams in exchange for money. Following this success, she develops a plan to launch a larger exam-cheating business. The stakes escalate when she takes on a massive task in Sydney, Australia: taking the international STIC (SAT) exam. To pull it off, she recruits her academic rival, Bank (Chanon Santinatornkul), to deliver the answers to their classmates in Thailand before the exam even begins in their country.

If you liked Ocean’s Eleven (2001) and Now You See Me (2013), then Bad Genius is definitely a watch because it explores high-stakes academic scheming, portrays strategy and tension inside a school setting while commenting on inequality within education systems.

4. Bar Boys (Philippines, 2017)

The story follows the lives of Eric (Carlo Aquino), Torran (Rocco Nacino), Chris (Enzo Pineda), and Josh (Kean Cipriano) as they enter the world of law school. The film captures their journey through the pressures of family expectations and strained relationships, tracing the conflict that builds within their friendship. As they push toward the bar exam, the weight of the system eventually brings each of them to their breaking point.

If you liked Legally Blonde (2001) and The Reunion (2012), then Bar Boys is definitely a watch because of its honest depiction of law school pressure, its focus on friendship, and its exploration of sacrifice and perseverance.

SOFT FOCUS: Campus Romance

These films focus on ‘kilig’ and feel-good moments, using classic romance clichés that remain timeless.These are the perfect movies for anyone who's looking for something light and cheerful.

5. A Little Thing Called Love (Thailand, 2010)

An introverted junior high student, Nam (Baifern Pimchanok), finds herself falling for her popular senior, Shone (Mario Maurer). Confined by the belief that she is merely average, she keeps her feelings hidden, settling for glimpses of him during school breaks. However, as time passes and with the support of her friends, she finds the confidence to finally put herself in his line of sight.

If you liked Flipped (2010) and Must Be... Love (2012), then A Little Thing Called Love is definitely a watch because it explores a slow-burn story of a shy student’s transformation, school-life romance, and self-development.

6. Diary ng Panget (Philippines, 2014)

Eya (Nadine Lustre), a hardworking but self-proclaimed "ugly" young woman, finds herself working as a personal maid for the arrogant and wealthy Cross (James Reid). Their relationship begins with constant bickering, fueled by their drastically different worlds. However, as their lives become more entangled with each other, they eventually move past the hate and start seeing each other for who they really are. 

If you liked She’s All That (1999) and She’s Dating the Gangster (2014), then Diary ng Panget is definitely a watch because it highlights teenage romance, personal growth, and finding confidence in school.

7. Our Secret Diary (Japan, 2023)

Nozumi Kuroda (Hiyori Sakurada) finds an unexpected love letter in her desk from the school’s most popular student, Jun Setoyama (Fumiya Takahashi). Though confused, she eventually leaves a reply in the school shoe lockers, sparking a secret exchange of letters between them. However, Nozumi soon discovers a painful mistake because the letters were actually meant for her best friend.

If you liked Your Name (2016) and To All the Boys I’ve Loved Before (2018), then Our Secret Diary is definitely a watch because of its story built around a secret exchange of written messages and the growing connection between its characters through diaries and hidden feelings.

8. Love Untangled (South Korea, 2025)

At nineteen, Park Se-Ri (Shin Eun-Soo) finds herself lovestruck by the school’s most popular student, Kim Hyun (Cha Woo-Min). In an effort to win his affection, she decides to change her appearance, changing her natural curly hair for a straighter look. Her journey takes an unexpected turn when a new transfer student, Han Yun-Seok (Gong Myung), arrives at their school.

If you liked The Princess Diaries (2001) and Our Times (2015), then Love Untangled is definitely a watch because of the awkward yet genuine portrayal of first love and its focus on young people figuring out confusion and self-expression.

SLOW FADE: Campus Melancholy

These films capture the bittersweet reality of student life, blending romantic and wistful moments that reflect the emotional weight of being a student. They also resonate especially with students who may be dealing with challenges outside school but still find moments of belonging and connection within their school life. If you need a good cry or something that hits deep, these are the movies for you.

9. 20th Century Girl (South Korea, 2022)

In 1999, Na Bo-Ra (Kim You-Jung) stayed behind to track a fellow student for her best friend, Yeon-Du (Roh Yoon-Seo), who has traveled to the States for heart surgery. Before leaving, Yeon-Du mentions a boy she has fallen for named Baek Hyun-Jin and asks Bo-Ra to report his every move. However, while she is busy documenting her friend’s crush, Bo-Ra unexpectedly finds herself swept into a love story of her own.

If you liked Bridge to Terabithia (2007) and On Your Wedding Day (2018), then 20th Century Girl is definitely a watch because it presents a story of first love and friendship, bittersweet memories of youth, and the emotional part of growing up while holding onto the past.

10. Even If This Love Disappears from the World Tonight (Japan, 2022)

After a car accident, Maori Hino (Riko Fukumoto) lives with Anterograde amnesia, causing her to wake up every morning with no memory of the day before. To get through life, she follows strict rules—especially the one about never falling in love. But her world changes when she agrees to date her classmate, Toru Kamiya (Shunsuke Michieda). Even though she knows their time together will vanish overnight, she finds herself breaking her own rules for a romance that starts over every single day.

If you liked 50 First Dates (2004) and Drawing Closer (2024), then Even If This Love Disappears from the World Tonight is definitely a watch because of its delicate story of love affected by memory loss and its reflection on how fleeting moments can still leave a lasting impact.

***

School life cannot be framed by a single camera angle or confined to a specific genre. Much like the films we’ve explored, our own experiences are a collection of different scenes—moments of joy, pressure, friendship, and growth that shape who we are as students. 

These stories feel relatable because they draw from everyday student experiences many of us encounter in real life. At the same time, they present moments that feel heightened and romanticized—capturing not just how student life is, but also how it is remembered, imagined, and sometimes even wished for. What makes Asian campus films stand out is their emotional realism and cultural familiarity, allowing viewers to see parts of their own lives on screen. 

By choosing these films, we are not just watching stories—we are recognizing ourselves within them, while also holding onto the versions of those moments we hope to experience.

After all, life isn't lived in a single frame—it’s a story still in production.

//by Fate Florentino

References: 

20th Century Girl: Review, Summary, Analysis. (n.d.). Ashley Hajimirsadeghi. 

A Crazy Little Thing Called Love. (n.d.). Far East Films. 

Bad Genius (2017) - Plot - IMDb. (n.d.). IMDb. 

https://www.imdb.com/title/tt6788942/plotsummary/

Letterboxd. (n.d.). Like Stars on Earth [Film synopsis].

Letterboxd. (n.d.). 3 Idiots [Film synopsis]. https://letterboxd.com/film/3-idiots/ 

Letterboxd. (n.d.). Diary ng Panget [Film synopsis]. https://letterboxd.com/film/diary-ng-panget/

Letterboxd. (n.d.). Our Secret Diary [Film synopsis]. https://letterboxd.com/film/our-secret-diary/

Love Untangled - AsianWiki. (2025). Asian Wiki. https://asianwiki.com/Love_Untangled 

Letterboxd. (n.d.). Even If This Love Disappears from the World Tonight [Film synopsis].

Media, O. (2017, August 22). Footnote to youth: A review of Bar Boys - Vantage Magazine.

Sa unang bahagi ng SSH Fest 2026, ginanap ang MagCulay: Editorial Cartoon Seminar mula 10:30 n.u. hanggang 12:00 n.n. na nilahukan ng mga mag-aaral mula sa Grado 5 at 6. Pinangunahan ito ng host na si Uno Macadaan, kasama ang mga tagapagsalitang sina Job Balanon at Rima Millora.

Ipinakilala ni Job ang editorial cartoon bilang isang biswal na anyo ng pamamahayag, kasama ng artikulo, na naglalahad ng pananaw ng publikasyon hinggil sa mga isyung panlipunan. Binanggit na layunin nitong magpahayag ng opinyon sa mabilis at malikhaing paraan, makapukaw ng kaisipan, at makapaghatid ng panawagan sa mambabasa. 

Sinuri ng mga tagapagsalita ang paggamit ng mga simbolo at analohiya gaya ng mga tao, hayop, bagay o sitwasyon na kumakatawan sa mga pangyayari upang maipahayag ang ideya. Kabilang sa mga karaniwang simbolo ang magsasakang may sombrero, buwaya, baboy, barong o tuxedo, at pamingwit. Ipinunto rin nila na ang eksaherasyon, maikling diyalogo, at punchline ay nakatutulong para maging mas matindi ang dating ng mensahe. 

Nagbigay sila ng mga halimbawa ng konsepto, gaya ng pagguhit ng mga drayber bilang skeleton upang ipakita ang matagal na paghihintay sa trapiko, o gunting bilang representasyon ng “budget cuts.” Binanggit ng mga tagapagsalita na hindi kailangang iwasan ang paggamit ng cliché, dahil nakatutulong ito para mas madaling maunawaan ng tao ang ipinahihiwatig na ideya.

Bilang panghuling paalala, ipinaalala ni Rima na maaaring gumamit ng art style na komportable ang mangguguhit, mag-aral ng karaniwang metapora at analohiya, at makipagtulungan sa mga manunulat kung kinakailangan. 

Itinampok sa ikalawang bahagi ng event ang MagmaCid: Photojournalism Seminar, na dinaluhan ng mga mag-aaral sa Grado 9 at 10 mula 1:00 n.h. hanggang 2:30 n.h., at tumalakay sa mga panimulang kaalaman sa photojournalism.

Ibinahagi ng mga tagapagsalita na sina Andrea Rebaldo at Gabie Amorato ang kahulugan at mga katangian ng photojournalism. Ayon kay Andrea, ito ay isang uri ng pamamahayag na nagkukuwento sa pamamagitan ng mga larawan. Ipinaliwanag din ang mga basic rules of composition tulad ng rule of thirds, symmetry, leading lines, at viewpoint.

Binigyang-diin din na mahalaga sa photojournalism hindi lamang ang litrato kundi pati ang cutline na nagsisilbing paliwanag sa bawat larawan. Ipinaliwanag ni Gabie ang mga bahagi ng cutline na binubuo ng skel line, na nagbibigay ng maikling deskripsyon sa larawan; story line, na naglalaman ng pangunahing paliwanag sa isang pangungusap; at source, kung saan nakasaad ang pinagmulan ng larawan.

Upang mas masanay at mas maging pamilyar ang mga nakilahok sa seminar, nagkaroon ng maikling laro kung saan tinukoy ng mga kalahok kung ano ang akmang litrato para sa bawat cutline na ipinrisenta.

Nagbigay rin ng mga paalala ang mga tagapagsalita sa wastong pagkuha ng larawan at paggawa ng cutline. Kabilang dito ang pag-unawa sa paksa ng event upang makakuha ng angkop na litrato, pag-eeksperimento sa camera settings at color grading, at tiyakin ang katumpakan ng detalye sa cutline upang maiwasan ang pagkakalat ng maling impormasyon.

Sa parehong oras, isinagawa ang huling bahagi, ang MagCuwento: Storywriting Seminar na pinamunuan nina Arwen Chanliongco at Steph Refuerzo. Kasama nila ang mga tagapagsalitang sina Zabielle Juanico at Laureez Macatangay na nagbigay ng malalim at masinsin na talakayan tungkol sa iba’t ibang anyo ng pagsulat.

Binigyang-linaw ni Zab ang pagkakaiba ng non-fiction at fiction: ang non-fiction ay nakabatay sa totoong pangyayari at naglalayong magbigay ng impormasyon, ngunit ang fiction ay mula sa imahinasyon ng manunulat at nakatuon sa pagbibigay-aliw. Mula rito, ipinakilala ang iba’t ibang genre ng fiction tulad ng mystery/crime, sci-fi, horror, thriller, fantasy, romance, at historical fiction.

Ang sumunod na bahagi ay nakatuon sa proseso ng pagsusulat. Ipinaliwanag ang tatlong istilo ng manunulat: ang planner na maingat sa pagbabalangkas, ang pantser na sumusulat nang walang plano, at ang plantser na halo ng dalawang pamamaraan. Ipinakita rin kung paano nakatutulong ang mindmap sa pagbuo ng kabuuang ideya.

Kasama rin sa diskusyon ang storyline, linear na sunod-sunod ang pangyayari at non-linear na gumagamit ng flashbacks. Sinuri ang tema, tagpuan, tauhan, tunggalian, punto de bisita, tono at estilo bilang mahahalagang bahagi ng naratibo. 

Bilang dagdag, ipinakilala ang mga plataporma sa online publishing tulad ng Wattpad, Tumbr, Archive of Our Own, at TikTok, na nagsisilbing tulay ng bagong manunulat at mambabasa. Nagbigay din ng praktikal na payo si Zen: “Write an experience, not a summary. This is very important… You don’t really need to info-dump all the things that are happening or the things that we want to know. Don’t overthink in the beginning–just write, write, and write.”

Sa huli, itinampok ng mga tagapagsalita na ang pinakamahalaga ay ang hindi pagkalimot sa dahilan kung bakit nagsusulat. 

Inaasahan ng mga mag-aaral sa Grade 12 ng SSH na magsilbing daan ang event upang mapalawak ang pagkakataon ng mga UPIS student na makilahok at maging aktibo sa kanilang komunidad. 

Franco’s suspicions were correct; it was his roommate and best friend, Allan Gonzales, who always kept putting himself in unfavorable situations. A few months ago, when he tried conning this gang for money, the leader ended up breaking his right leg as a warning—poor guy. He ended up having to use a cane to get anywhere.

Franco did try getting him to stop, to choose another thing to do to get by, but he simply replied, “I just want to be able to afford stuff, to keep this apartment for us, all that. I’m sorry, but… your job just isn’t doing much for us right now.”

He felt offended, especially since writing had been his lifelong passion, but his roommate was right. No matter how many articles or stories he wrote, that would only be able to pay off around a month’s worth of rent. That’s without accounting for the groceries they had to buy. Even the instant noodles he was about to munch on already felt like they cost a fortune when he saw that price tag. Allan was risking himself; he knew that, though that was their only choice. The writer shook his head; he almost forgot to greet his dear friend. 

“Hey, Al. I hope you didn’t come across Tony again,” Franco joked, turning to face Allan.

“God, I hope not. I don’t need another broken leg.” Allan chuckled once he sat down on the counter, resting his now folded cane beside him. “Anyway, how’s that book goin’? Haven’t started it yet?”

“Actually, I have, thanks for asking. I’m already on… 330 words, I think. I assume you went to that one alley again, am I right?”

“Well, yeah. ‘Course I did. It’s got the most people, y’know. By the way, your water’s done boilin’.” He breathed, lazily pointing at the kettle behind Franco.

“I knew that. Also, would you like some noodles too? You look tired, Allan,” he uttered, pouring the hot water into the cup of noodles. The other man simply finger-combed back his black hair, then shook his head. 

There wasn’t much said after that, not when the food cooled down and understandably not when Franco was eating. It was only after he washed a fork in the sink that he noticed his roommate was quietly staring at him the entire time. He raised a brow, a silent question asking what the deal was. 

“Sorry. I must’ve zoned out. I should probably wash up now.” Allan coughed, slowly getting off the counter along with his cane to go to the bathroom. 

The always-skeptical Franco didn’t buy it, but he decided not to push further. It has been a long day for both of them. He wouldn’t want to make it feel any longer, would he? With a sigh, he walked back to the bedroom, making his way to his bed to continue writing. It was just like how he left it, dark and dull, though with the gentle shushing of water coming from the other room. 

Franco opened up his laptop, and its light illuminated the room once shrouded in darkness. His fingers raced to each key, adding more to where he left off. The words flowed onto the screen like it was nothing to him, only stopping at the occasional typo. He continued typing up until the sound of water trickling stopped and the clacking of Allan’s cane made its way through the bedroom door. With that came a sigh from Allan himself as he dried his hair with a white towel. Franco only looked up when the con-artist turned on the lights.

“Hah, you weren’t lying.” He chuckled, staring at the wordy document on Franco’s laptop. He was then shot with a dirty look. “What’s with the face? To be fair, last week you said you were gonna start that day, but you didn’t.”

“Whatever,” the writer scoffed, “but now my brain juice is all gone because of you.” 

“What did I do?” No response. 

“Anyway, I think this next scene’s supposed to be based on one of the things you told me about. I know you have a lot of stories, but surely it’ll be easy for us to recall?” 

“Wow, I’m flattered. You’re inspired… by me?” Allan teased, fluttering his eyelids. He soon broke out of character and giggled, his cane almost slipping out of his hands.

“Shut up. My life’s too boring for me to be inspired, so naturally, I’d get inspiration from the one flowing with stories.” Franco scoffed, turning to face Allan fully. “Now, let’s get to it. I think it took place in that one alley.” 

“Maybe it’s that one time I somehow convinced someone to give me their wallet?” 

“Hmm… Nope. I remember the scene feeling more dramatic than that.” 

“Then it’s got to be the time I ran from Tony’s goons or whatever you call ‘em, yeah?”

“Yeah, we’re getting warmer. It might be something that happened during or after that, so, yeah, please explain it again; I’m getting quite forgetful.” 

“Well, alright. So, as usual, I ticked off the Rose Gunners for ‘loitering’ in their ‘territory’ even though it’s a literal public space,” he stated, rolling his eyes. “Like, I know I stole one of them’s wallets back then, but that doesn’t mean I had to run for my life! Those guys are brutal. After I lost sight o’ them, I ran all the way back here, passed out, and you’re the one who remembers the rest.”

“Okay… thanks. You should probably sit down, though.” Franco smiled, his right hand softly patting the part of the bed beside him. 

“Ah, right,” Allan said. He tossed his small towel to the center of his own bed, then sat beside Franco, taking a better look at the laptop’s contents. Based on his own skimming, it looked a lot like an action story. A small grin formed on his lips; this was definitely based on him. “I hope this turns out to be a hit.”

“Pfft, I doubt it,” he muttered, his fingers doing the rest of the talking as he typed. “The market’s been getting pretty tough lately, so unless I somehow write the next Harry Potter or get really lucky, there’s not much I can do.” 

“I guess you’re right, but still. I don’t know much about writing, but your works are so… detailed, especially that one about the therapist.”

“That’s an old one. I didn’t know that you’ve seen it already! Thanks again, Allan.” 

“At this point, I should be thanking you.” Allan’s voice softened, and so did his smile as he leaned back a bit. “You’re the only ethical source of income ‘ere, even if the process is pretty slow.” 

“Is that all?” Franco snickered, raising a brow.

“Hah, of course not. I do have more, but I don’t think I should disturb you more than I already have.”

“It’s fine, not like I have a deadline or anything. I’ll just continue working on this tomorrow, actually. Do you wanna see my progress though? I don’t think I gave you enough time to read all of it.” He grinned, carefully passing the laptop to Allan.

“Yeah, sure. Y’know, it’s unfair that your stuff isn’t on those shelves already. This is more than I could ever achieve. I’m just hurting others for my benefit.”

“It’s not your fault, man. You just played along with the unfairness that others gave you. I remember back when we were in college, you really were working towards that degree. You’re worth more than you realize.”

Allan sniffed, his teeth clamped together as he continued reading the words on the screen. He looked up at the ceiling, trying to contain the tears he had held for so long. Franco put a hand on his shoulder, trying to soothe him, but it made him ache even more. 

“I’m sorry. I’m just so jealous of you. I know you’re struggling too, but… I can’t help it. You still have so much passion for what you do; you never lost that spark. But me? I gave up on it long ago just to stay alive.”

“But you never gave up on me, did you? There’s still hope for you somewhere. We can make this work,” Franco uttered, giving the other a small smile.

“I guess you’re right. Uhm, sorry for that,” Allan mumbled, wiping away his tears. “That was very sudden, wasn’t it?”

“Don’t even worry about it. As I said, things are getting tough nowadays. Look, we’ve been getting through it just fine. Us against the world, maybe. Sounds cliché, but it’s true.”

“Yeah, see? This is why I’m thanking you. Thank you for being here,” he sniveled, wrapping his arms around Franco.

//by Winter Kate G. Cerilla

Naghulma, Nasunog, at Kinalimutan. UP Diliman Faculty Center—isang dekada matapos ang sunog, hindi pa rin naitatayo ang tahanang nagsisilbing hulmahan ng mga Iskolar ng Bayan. Kuha ni: Leigh Isys V. Manimtim.

No to Cha-cha! Tutulan ang pagsusulong ng sariling interes. Ipaglaban ang demokrasya! No to Cha-Cha! Kuha ni: Niña Vina V. Alejandro.