LSS SA PAG-IBIG: The heartbeat of Gaya sa Pelikula’s storytelling

For Karl, it's hard to take the path he thought was destined for him, only to find out this was not what his heart truly longed for. As with love, he also experienced almost the same thing when he met Vlad, the person who seemed to show him he was capable of loving more truly than he thought.

Gaya sa Pelikula is a Philippine web series directed by Jaime “JP” Habac Jr., consisting of eight episodes and first aired on YouTube in 2020 under the production of Globe Studios. Paolo Pangilinan portrayed the character of Karl Frederik Almasen, while Ian Pangilinan played as Jose Vladimir “Vlad” Austria.

For most queer people, Vlad is the epitome of a gay teenager who is cocky and open to taboo conversations particularly on homosexuality. Karl, on the other hand, is the opposite; he is perceived as a goody two-shoes teenager pursuing architecture even though his passion truly screams for film. 

Karl moved into his uncle Santi’s former apartment as his parents wanted him to be independent during the semestral break. He becomes a freelance writer with a focus on film due to his interest in movies, but he struggles to attract clients, leaving him unable to pay rent.  

One day, his neighbor, Vlad, enters his apartment to hide from his sister, Judit; assuming he is an intruder, Karl checks his pants, but Judit opens the door and sees them somewhat engaged in a compromising activity. Vlad then pretends to have a relationship with Karl, stating he will not visit his mother until Judit accepts him. To make him feel comfortable, Vlad promises Karl he will help with his rent. 

Their relationship develops from being complete strangers to entering a romantic partnership, despite Karl, in reality, identifying himself as straight at that time. 

Close proximity strikes either tension or development of feelings when you are with someone, especially when it comes to the point where you become comfortable bickering and picking quarrels with each other. 

Karl and Vlad exhibit countless arguments throughout episodes two to three, but their closeness also became an avenue for them to talk about Vlad’s openness with his sexuality after Karl expresses this through euphemisms. 

Euphemism was manifested when Karl acted with his hand a gay feminine sign, which disgusts Vlad as he argues he shouldn’t be afraid of the word instead of doing the gesture. Which then proceeds with Karl asking him if he is gay. 

Vlad answered yes and passed the question back to him. 

“Ikaw ba, bakla ka?”

Karl answered defensively, saying he is not gay; he just doesn't have any problem with gay men. Vlad was offended, replying that he acted as if he had accused him of a crime. 

Vlad’s character is one that we would perceive as someone ahead of his time through his frankness and being transparent about who he is. Back then, when we think of a gay person, prominent gay icons like Vice Ganda, Tito Boy Abunda, and Paolo Ballesteros, who often scream feminine gay energy, come to mind. This often causes people to forget gay people vary in different gender identities and expressions. 

Vlad is one example of a gay man who expresses his gender in a way that doesn’t align with stereotypically feminine traits — and that is perfectly valid. Queerness, as its core, resists rigid norms and expectations. It’s about embracing the freedom to exist authentically, without having to conform to any predefined mold based on sexual orientation. 

It is shown that as they grow closer and open up to each other, conversations that were once considered taboo gradually become part of their shared discourse, unti-unti, little by little. 

“Unti-Unti” by UDD becomes the soundtrack for the closing billboard of the first two episodes, portraying how slowly they become close in proximity to each other which continues to progress and appear at the end of every episode of the whole series. 

Love truly comes when you least expect it. 

For a cliche fake relationship trope, it becomes relatable as the series’ very essence was to create stories of the gays by the gays. The show primarily presents familiar romantic antics, slice-of-life elements, and contemporary advocacies — all viewed through a queer lens. 

The show even depicted Karl with characteristics of political incorrectness, while Vlad was shown as self-righteous but inconsistent in his actions, particularly when he is scolded by Karl for not cleaning up his mess in the apartment.

Vlad’s sister, Judit (Adrienne Vergara), was written as a multifaceted character whose role as an ally varied, sometimes seen as humorous and other times as unreliable or insincere. Judit is an interesting character because viewers might initially perceive her as consistently supportive of her brother’s queerness and his relationship with Karl. However, it is later revealed that she harbored resentment towards Vlad due to their father’s departure, which caused significant emotional distress and insecurity for Vlad.

As for Karl who is a late bloomer queer at 19 for a gen Z per se, faces significant challenges in disclosing his orientation to his parents due to the intense pressure he feels as a dutiful son expected to fulfill their aspirations. 

While his uncle Santi (Franco Ramos), who is also gay, has provided support and made it easier for Karl to come out to him, the conclusion of his conversation with their neighbor Anna during the last episode reveals that he remains metaphorically confined within the apartment. This symbolizes the importance of openly sharing his story with the world rather than concealing his true self. 

The narratives of supporting characters such as uncle Santi, Judit, and Anna provided significant insights into the diverse experiences of individuals surrounding queer communities. Their roles illustrate various forms of support, confrontations with homophobia, and the resilience required to navigate life’s challenges. Their influence on Karl and Vlad’s relationship was instrumental in guiding them through personal struggles and the complexities of their queer identities. 

The song Tahanan by Nica Del Rosario appeared in episode 4 during the scene when it was Vlad’s birthday at the same time of Christmas. While Karl spends Christmas at his parents’ home, Vlad misses him immensely as he dances, embracing a photo of Karl. The next day, Vlad awakens to the decor theme changed to a birthday one, with Karl back. 

More than the charming facade of enemies-to-lovers scenes and constant quarreling, the bearing point of the series is to haunt us with our inner Karls, reminding us that it is important to know ourselves, from surface-level identity to what we truly feel. 

As for the Vlads, learning to overcome heartbreaks will never be easy. That is why it is also necessary to take care of our hearts every now and then and make sure we let them heal. 

Karl and Vlad’s connection mirrors the dynamics often seen in straight males and females love stories, but this time, director JP Habac reclaims that narrative through a queer lens. 

The special bond and individual growth were significant elements that distinguished it from other stereotypical boys’ love (BL) narratives, which often fetishize homosexuality by assigning characters to rigid roles — one hyper-masculine, the other feminine or submissive — and framing their dynamics through jokes about who’s the “top” or “bottom.” This approach challenges the perception of objectifying storylines often characterized by reducing queer representations.

In a time when misrepresentation remains a challenge and a barrier to authentic storytelling, it becomes essential to be reminded of why and for whom we tell these stories. 

The song ‘tyl’ by Kakie Pangilinan was first played during episode one when Vlad was dancing inside his sister’s apartment while drunk. Karl, his neighbor, went to check on him due to the loud noise he was making, completely changing everything he knew about himself.

Some reviews may interpret the ending as a mere return to the beginning or simply a setup for a sequel. However, in reality, challenges like coming out and fully embracing one’s sexual identity — especially after years of believing you already know yourself — are profound and life-altering. It is the kind of change that’s difficult to absorb, often accompanied by a dysphoria that feels overwhelming, making self-acceptance even harder to achieve.

Furthermore, the deliberate inclusion of Original Pinoy Music that aligns with their lyrics significantly enhanced the emotional tension for its corresponding key scenes. It is crucial to consider the lyrics of a song, as they provide a deeper illustration of the emotions being conveyed.

The series was written by Habac together with Juan Miguel Severo, who shared in an interview in 2020 that he wanted a show where the cast and crew are part of the LGBTQIA+ community or are allies to tell their stories. This is to give way to the series’ tagline, which was Ang Pagbawi ng Ating Kwento.

The heartbeat of Gaya Sa Pelikula lies in the people who brought it to life, those who gave us a queer representation of stories we were used to seeing only in heterosexual romantic films. From the director and actors to the singers and crew, everyone involved helped redefine what we thought we knew about BLs from the outset. 

Beyond the story itself, Karl and Vlad truly felt like they were “in the movies” thanks to the film’s stunning cinematography. This is what happens when cinema blends compelling music with imaginative visual artistry, it creates a space where queer wonders are authentically portrayed, allowing us to find our own melody within the scenes. 

The series ended the way it was meant to be, grounded in emotional realism rather than idealized conclusion. As Uncle Santi said, you should never rush someone who isn’t ready yet — whether it’s committing to a relationship or in coming out. Fantasy endings don’t always reflect the complexity of lived queer experiences, which is precisely what makes Vlad’s alternative ending serve as a powerful contrast to what truly unfolds.

They gave us a story worth telling — one that queer people can truly see themselves in.