um, okay—how else do i express this buoyant happiness that Gaya sa Pelikula has awoken inside me? i’m in complete and utter awe. i did not expect a drop of what the sixth episode has brought us. more than satisfying, it’s utterly fascinating. this is quite a lengthy post, but if you have the time, please bear with me. and since we’re already here, let’s fucking dissect the shit out of this:
right off the bat, it’s sweet how consistently written Vlad was the entire time of the show. at the start of the episode, for one, he was concerned with Karl’s disposition, saying, “anong iniisip mo (what are you thinking)?” and, later on, as we know, he pops that question again in this episode. what are you thinking? always in limbo. true, it’s considerate, yet more than that, it’s always a sign of waiting for permission. Vlad has been like this since the beginning: observant and willing to reach out, confident on the surface, yes, but always afraid of going overboard.
that is not to say that Karl isn’t. in fact, the whole dynamics of their relationship rest on the fact that they can lean on each other and just be honest. many moments show this: Karl’s desire to shift; Vlad not getting into the film lab and Karl knowing something was up; the entirety of Vlad’s birthday; Karl and Vlad’s reticence to open up to Anna, in contrast with how comfortable they feel with each other. in a nutshell, they’re each other’s homes. more on this later.
the part i was most frightened at with this episode was when Karl finally told his parents his desire to shift. to be honest, personally, i wouldn’t know exactly how that pressure on Karl feels, as i was able to study the degree i wanted. yet, back then, i had already known that my parents, who wholly supported me just the same, would have wanted a degree that leaned on science or engineering. that still sucked to know. Karl’s situation is much more complicated. his desire to shift to another course is to make up for lost time, a sense of hurrying before it really becomes all too late. this was a heavy lot to take in. the disappointment and anger in his father’s face when he dropped the bomb was too much to handle. Karl had expected it, yet its impact still hurled shrapnel that he was not able to dodge, sustaining him with several wounds. it would be curious to see how his parents come to terms with his confession. i am certain that a number of people have connected with Karl here.
which brings me to another point. Gaya sa Pelikula creates these characters with their own agency. it’s touted as a BL series, yes, but our two main characters’ point is actually not to fall in love — but to live, part of which is to fall in love. they have their hopes and dreams and own burdens to carry, and while falling in love takes centerstage here, we see how they can stand alone, on their own two feet. falling in love is central to their growth, but it is evident that love is not the whole point of their existence.
speaking of which: ate judit. ah, yes, where do i even begin to explain the exquisiteness with which ate judit was written? how, after all of five episodes, it was only now did it make sense why judit was overly, unnaturally caring and protective, a mama bear that would not let anything happen to his little Vlad. now we know why: guilt.
imagine that. being told you were the reason why your whole family went into shambles. there is much vindication in Vlad’s line of questioning, “why would you say that to a child?” (god, i’m tearing up even as i write this.) this was a pivotal scene, with a focal point on judit, the likes of whom we cannot entirely fault for not knowing any better. the fact remains that we are still in an era that fails to understand the spectrum of gender identities and the far utopia that we seek, where gender and sex would not be a damning classification anymore. and for true allies, it is in admitting that they “didn’t know then what [they] know now” that their support gains more strength. it is in confessing where they got wrong, how harmful their actions were, and in the commitment to do more, that their promise is made good.
parenthetically, can we talk about Vlad’s mom as well? have you all noticed how her voice broke when she said, “siguraduhin mong hindi ka na itatanggi niyan, ha (just make sure he won’t deny you, okay)?” was that pain, or guilt even? i wonder if we’re ever going to see her. it would be a regret not to. for so long Vlad had thought that he was the reason his father left, and that his mother was mad at his queerness. i wouldn’t want this simple call to be the resolution that the show had for him. at any rate, we have two more episodes to await, so i am not going to strike my gavel on this judgment just yet.
but whereas Vlad found his longtime coming reconciliation with his sister, Karl had no one to turn to. his call to Vlad was a cry for help. it was heartbreaking to see him like this. Karl had always put up a fake smile against any adversity that had come his way. to him, these were trivial matters that would pass, and they did so — until now. after all he was, as we would later come to know, living a script that had been prewritten before he even came to being. that explains his nonchalant demeanor toward life, the seeming discontent behind those dead eyes, and a repeated hinting that he was always yearning for so much more. at the end of the call, Karl instinctively goes to the closet - and his proverbial closet - and sees the skeletons he had hidden inside, drop in a mess.
that it was Karl’s brother who was in the photo shook me. that past was so well thought out. things made so much sense in this episode: why Karl tried to fit in, why everything seemed so fake. why he was so discomforting to watch, even! that made sense now.
and what do you do when everything has become a mess? the once seamless film that had been rolling without any glitches now sprawled on the floor, entangled in a hodgepodge well beyond fixing. when that happens, what do you do? well, you dance.
i have so many things to say about faux masculinity. it is a fact undisputed that in this society, gender roles are still very much pillars that we have yet to dismantle. our genders have been geared toward performativity, and our consolation is the external validation we receive through the acts of fitting in. in the process, we lose sight of what we really want. we blur the lines between what is and what should be, in favor of what society has demanded upon us. Karl took that role and lived by it religiously. yet, those things has gone haywire in this episode. more than his parents, it was to himself that Karl has finally admitted that the act can be dropped now: the fixed posture, those rehearsed lines, that painfully faux masculinity, on guard all the fucking time. all of those things were dropped.
that is not to say that Karl was faking all of it. there is no denying that Karl has been a masculine person most of the time. but the show portrayed before us a discarded femininity that Karl had been trying to bury deep inside him — one that all people who have been and who are still in the closet know by heart. the thing is, all of us have masculine and feminine sides, the expression of which vary at different levels in different situations. sadly, we have been preconditioned to believe that male persons must be masculine, and female persons must be feminine. Gaya sa Pelikula acknowledges this hegemony, and then throws it away all the same. true, Karl may very well be comfortable in his masculine expression, but his femininity must also be allowed to grow. one cannot be complete without embracing the entirety of who they are. many have died — been killed — for simply living who they are. society has long been a vicious environment. but people have also long fought for their fundamental right to perform these things, and through them, we know that things can change. that things are changing.
it is against this context that imprints more meaning, more gravity to when we finally, finally see Karl dance. in every sense, his dance was the show’s climax for me. it is, quite emphatically, freedom incarnate.
when i say i fucking bawled at this scene, you best believe it.
quite important to note: when Karl sees Vlad, he stopped abruptly, only for Vlad to signal to him, in an OK sign, that what he was doing was perfectly fine. that Karl could be effeminate all he wants, and who the hell in this earth should care? this allowance has given Karl all the needed validation he will ever need, at least, for that one night where they could bare it all. it was only the two of them, but the house has never been more crowded, because their feelings have seemingly exploded and have been overflowing in a glorious climax for all of us to witness. in this scene, Karl has unshackled the chains with which he had been bound all that time, and it was Vlad who helped him finally break the last of those chains. in this moment, there was only pure bliss.
(that the song playing here was Ride Home by ben&ben is the perfect giveaway. for non-Filipino readers who have only listened to ben&ben now, check this band out. it’s one of the best bands to have ever come out of the Philippine music industry.)
and, of course, in this waterfall of emotions, it is only perfect to time the moment of their first kiss. they have accepted each other, haven’t they? in a meaningful act (the gravity of which we will only realize in full later when Vlad tells the story of his dad), Karl rumpled Vlad’s hair, but only after Vlad had already consented to it. then, afterward, it was Vlad’s turn to ask, what are you thinking? to which Karl had this—and i know we all expected it, nevertheless—to say: i don’t want to think anymore. then they kissed.
i swear to god. i only watched this for the 92432475781 time.
the denouement was so well put, too: now everything is put back into its own place. Karl’s brother. his death. his parents’ expectations. the substitution. Vlad’s father. his parents’ expectations. the horror of realizing one’s difference. the abandonment. in these stories, it becomes more and more permissible to believe that Karl and Vlad have easily found comfort in each other. to say that they are soulmates (as the creator, juan miguel severo, told on his twitter) is not an exaggeration.
and, make no mistake: Karl and Vlad did not find each other’s embraces out of pity. no. it would be unduly harsh to view them that way. rather, they found solace in each other’s embrace and warmth, but it is still they who will muster the courage to face their own demons. the only difference is, they now have each other to find some sort of release. they are not destructively dependent on each other; instead, they help each other grow into the versions of themselves that they can be proud of.
finally, a couple of small things: look at the way Karl was inviting Vlad to lie in bed with him. that simple gesture harks us back to the early days of their dynamics: Vlad had expressed that it was okay to share a bed, but Karl was adamant that they do not. Karl had once dreamed of Vlad joining him there, and that scared him shitless. in contrast to that, now we have this: Karl himself inviting Vlad, and Vlad accepting for Karl’s wholehearted invitation. the moment this happened, there was a consummation of the expression of their love. if they had their doubts prior to this, those could not have been more obliterated now.
needless to say, i fucking, fucking loved this. as one who has only ever written three fanfics (2gether and History 2!), all of which seemingly related to sleeping (what the fuck, do i have a sleep fetish or something), this ending to episode 6 is just the cherry on top.
their lines by the end particularly strike me. here we have Karl who wishes to create his own stories. on the other hand is Vlad who wishes that he be in charge of the endings, too. how do they do that? who knows? but the certainty that defines their pact is that they shall do it together, unbound and free to dance to the song they have chosen of their own accord. and that simple promise, made in each other’s tight embrace under artificially warm lights amid that early january weather, with no certainty at all of what tomorrow has to bring, has made all the difference.
in 34 minutes, Gaya sa Pelikula has, yet again, done more than we could have ever expected.
i just checked and this reached 2k words. i’m not even gonna attempt to proofread this anymore. anyway, this is all i have to say for now. i just simply cannot let go of the best episode i’ve seen in this show without expressing my own reaction to it.
(also: i’m thinking of writing a fanfic; that is, the morning after. just a one-shot, hopefully a cute one. as usual, an introspection of these characters, and what lies ahead. hope i actually get to write it!)
thank you so much, Gaya sa Pelikula. you are proof that things do change.
