By: Margarita Beth G. Morales

“If a bullet should enter my brain, let that bullet destroy every closet door.”  —​Harvey Milk

Released on February 4 2008, Milk is an academy award winning film that recounts the life of Harvey Milk, the first gay individual to gain a seat in the San Francisco Board of Supervisors. Being a gay rights activist, Milk leaves a legacy as he paves the way to homosexual civil rights.Contents in this paper seek to incorporate the fundamental notions under queer theories into the contribution of the gay revolution in Gus Van Sant’s Milk.

Continue reading “My name is Harvey Milk and I’m here to recruit you” →

By: Khamylle Anne E. Mendoza

Integrated with liberalization, the paper cogitates about the idea of prostitution through a Feminist approach. The film, Pretty Woman, evidently manifests the unprincipled pursuit of women’s lifestyle—including the sex workers’ desolating negotiation with their prospects at the foot of Rodeo Drive in the heart of Beverly Hills. That being so, the paper strives to annotate the favorable outcomes of being cognizant towards the subtle explication underlying within the theory of feminism and the cinema industry.

             The film was directed by Garry Marshall, its main characters were Julia Roberts who played as “Vivian” and Richard Gere as “Edward”.  The film, basically, is about a prostitute who fell in love with a businessman and vice versa. It is more of a Cinderella plot—taking the princess and puts her in the real world, creating a chick flick with a bit of edge and a whole lot of heart—but this time, the leading lady is not an absolute pristine. Some viewers applauded the execution of the characters per se, however, it is still inevitable to have numerous number of people who exclaim that the film failed to fulfill the audience’s hopes and expectations. Gere and Roberts have a very good chemistry, but this feel good fantasy is fastened with some absurd messages about love, prosperity, and deep pockets.

             Behind the exasperating suffering and unjust treatment towards women who aim to acknowledge place in the community, “she” is finally playing a significant role in the general public today as a communist, a politician, and an economist—these women paved the way put an end to the unjust treatment towards womanhood. However, although feminism has been generating debates all over the world, some women are still struggling every single moment casting for their rights (Green, 2000).

             Feminism, on the other hand, is believed to be the total representation of women’s difficulties (Narayanaswamy, 2016), issues (Farley, 2003), and impediments where, at the same time, equal opportunities in societies are being controlled by men (Millner, Moore, & Cole, 2015).

             Despite the heartbreaking dissociation and the rigid disproportion in society, women were still able to rise up each time expressing their own thoughts and manifestations considering the fact that feminists were able to feel (Clover, 2017) and encounter the hardships and suffering of women (Brunschot, Sydie, & Krull, 2000) in Patriarchal societies. Feminists, therefore, started to eliminate all the possible obstacles that could prevent movement or access towards social and economic opportunities for women, and to give an impression that a woman’s worth is never determined primarily by the gender. With that, the promotion and awareness of equality started to spread all over the world—making it a symbol of just treatment without any prejudice or partiality; making people believe that men and women deserve equality in all social rights.

             Feminism also took shape into Hunburtine Auclert’s journal entitled, “La Citoyenne as La Feminitè” where the author attempted to indicate the faults of male domination in a very much disapproving way, and to claim for women’s rights. Whether a social movement or a political movement, feminism definitely made the women’s oppression a point of convergence (Walters, 2018). The word feminism was first used during 1871 in a French medical text to refer into a certain termination in development of male sexual organs who were medically perceived as people suffering from feminization—a development of external female characteristics by a male (Fraisse, 1995). Afterwards, the term was further flourished by Alexandre Dumas, a French writer, republican, and anti-feminist who exclaimed that even though Fraisse used feminism to signify feminization of men, it is indeed a virilization—an imbalance in sex hormones—of women in terms of politics (Chandran, 2016).

             On the other hand, there are various classifications of feminism that came from studies of feminism per se and feminist theory. A basic version of this categorization divides feminisms and feminists into three varities: (a) Liberal Feminism wherein people campaign for equal rights for women within the structure of the liberal domain; (b) Marxist Feminism where feminists relate women’s oppression to the capitalist realm of production; and (c) Radical Feminism where feminists perceive men’s supremacy as an outcome of Patriarchy.

             Although it is a fact that feminist movements have been more vigorous during the past historical periods, it would perhaps be more precise to see feminism not as developing waves but as an augmentation of a concept and movement from the past era. Nevertheless, there are people who point out that supporting feminism does not automatically make a person a feminist. However, it is also by no means that a person does not have to be a feminist to support equal rights (Thouaille, 2018). With that being said, feminism is believed to have its own concept and practices, hence, past studies stated that feminists can be instituted as a discipline, but can never claim women as its realm.

             Not to mention, there was a Third Feminist Wave which appeared in the early 90’s and still emerging up to date. Rebecca Walker used the expression “Third Feminist Wave” to allude towards the activities such as women in pornography, sex work, and prostitution (Hulusjö, 2013). Walker believed that this concept would definitely eliminate the stereotypical, accustomed, and standard pictures of women through removing ideas like sexist language unjust phrases used for women.

             Similarly, pro-prostitution feminists exclaim that prostitution and other disposition of sex work can be a reasonable choice for people who choose to take part in. On that account, the idea of prostitution started to be differentiated from forced prostitution (Cawston, 2018). In the perspective and context of the current social and economic condition of women at the present time, some people suppose that sex work could only perpetuate women’s subordinate social position. However, some feminists firmly believe that prostitution is not morally wrong. In fact, the people who show approval in relation with sex work legalization say that it can help women build careers for themselves, which can be quite emancipating. Thus, sex work can be turned into a very safe and profitable venture for women (Bucher, Manasse, & Milton, 2014). In their perspective, prostitution is not exploitative of women and under the proper conditions, can actually serve as a benefit (Pitts & Kawahara, 2017) since some women may enjoy occupation that allows them to assume control of their own bodies and just freely express their sexuality (Cawston et al, 2018; Epstein & Moreau, 2017).

             Through the rationales mentioned, stronger fortifications came into practical view. Past studies attest that sex workers could also receive benefits such wherein self-defense and sufficient knowledge towards sexually transmitted diseases (STD) are the matters of greatest importance followed by supplementary benefits such as health insurance and sick day (Melrose, 2004; Spitzer-Hanks, 2016). Apart from that, feminists profess that sex workers have the right to refuse during unwanted circumstances and privileged as well to limit the monetary portion that handlers can take. With that being said, if sex workers are being offered the same benefits offered to people in other industries, it can be considered as a legitimate work as well then (Edelman, 2011; Helle-Valle, 1999).

             Pretty Woman has already been reviewed by some people from different industry and by sex workers too for not showing a sensible and practical idea of what can be achieved or expected in that kind of living, and for romanticizing the “knight-in-shining-armor-client” fantasy. However, since this paper strives to examine the film more positively from another angle, it is ideal to elucidate the fact that there is a justice to these criticisms even though some people, who have a lack of experience, claim that the film is a total allurement of prostitution. Divergently, those individuals who seem to be distracted by film’s “allurement” of prostitution are actually more disturbed by the following contentions: (a) that a prostitute is an individual; (b) that prostitution is occupation comparable to other forms of labor; and (c) that abuse of a prostitute is the sole responsibility of the abuser.

             However, Vivian’s personality shown in the film proved stereotypical assumptions wrong. She never used illegal drugs; her backstory involves some awful relationships but no explicit sexual trauma. Her intelligence continuously surprised the viewers. Obviously, Vivian’s only reason for becoming a sex worker was her desire for financial self-support and her struggle to pay rent. Evidently, this notes Vivian as a unique & exceptional prostitute, who deserves to be loved, respected, and rescued because she is absolutely incomparable. In that manner, the film attempts to show the significance of combatting the possible hazards of prostitution that is through recognizing it as a legitimate work.

            This perception and feeling towards a certain film can be related with the two basic Freudian notion—voyeurism and fetishism. These terms have been used to elucidate what precisely woman represents and the feelings that evoke men’s emotions. For voyeurism, is associated to the scopophilic instinct wherein men are able to acquire please by just looking at a particular object. Some people say that Pretty Woman is kind of a nasty film, but how come other people see it in a deeper way? And them focusing on a sexual way. Mostly men. On the other hand, a similar impression was enunciated as well by Laura Mulvey. According to her, there are two components that must be discussed: First, men tend to take an action or possession, rather than to simply stare which is contrary to what women can do. Second, the objectification of women is not for the purposes of eroticism, but more of what women try to pose.

             The waves of feminism mentioned above were completely persuaded by the significance of the evolution of feminist theories by all the available means (Liinason & Alm, 2018; Parashar, 2016), making people believe that the continuous growth of such studies could make the matter more buoyant and effective (Koobak, 2018). As a result, people started to give proposals about various laws and politics about the roles of women such as motherhood and even womanhood as well as some compelling talking point for woman particularly gender (Bartlett & Henderson, 2016), sort, and sexuality (Hester & Squires, 2018).

 Above all, I must say that Pretty Woman is not a total representation of prostitution since, for me, it has personified a positive support of a woman’s negotiating borderlines within romantic relationship and a positive seal of approval of personal worth as well. Pretty Woman is a beautiful movie! And to describe it as “anti-feminist” is another way of giving importance to the sexist stand of white knights over the actual concerns of enthusiasm and consent.

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Rebuild and forgive yourself in order to learn how to love again. This is what I have learned while watching the movie, Alone Together directed by Antoinette Jadaone, starring Liza Soberano and Enrique Gil.

Film review by Mark Gil Sabandal

The film starts by introducing Philippines’ history in which it feels like a brand new approach in a romance genre. Christine’s character (Liza Soberano) is a goal oriented student from the University of the Philippines who aims to go to New York and witness beautiful museums such as MoMA and The Met.

She’s very optimistic about everything during her college days and hopes that one day she can changed the world. Right after she graduated with a magna cum laude distinction, she immediately gets a job related to her interests until one miserable day occurs.

During that time she’s been in a relationship with Raf (Enrique Gil) who has no idea why suddenly Christine made a decision to end their relationship. Fast forward to the most important part of the story which is the scene where they met again after five years; Raf became a successful doctor while Christine is a plain secretary working in a corporate world which is far away from her ambition of becoming a museum director.

An opportunity comes in when Raf and Tin met in a park in University of the Philippines where they always used to go for pastime during their college days. Tin confessed what really happened before why she dumped Raf. Tin taught that she can never regain herself because of that incident until Greg (Luis Alandy) serves as her knight and shining armor that help her to pay her debt. Raf, on the other hand, became matured enough to handle the situation. He even convinced Tin to grab the special assignment for her work in New York so that she can visit well-known museums she once dreamed of. Never did Tin imagine that Raf will follow her in New York. At that moment, they both consider the place as a paradise and the term “what-ifs” should not exist.

I will not spill too much information, but I guarantee you it is worth your time to watch this film.  After watching it I realized this film taught me a lot such as acceptance, not to be too hard on myself, and embrace my failure and ensure that I will never be on the same hole again.  

Technicality wise, the cinematography of this film uses warm tones in most part of the scenes which is timely and relevant. It also uses angles and shots that are well-executed and appropriate in every scenes. Overall, I will rate this film as 4/5.

Film Review by : Baek, Jin Wook

Alone Together starred by Liza Soberano (Christine) and Enrique Gil (Raf), surpassing the P200-million mark as of February 21, and it is on its great move in the Philippine box office. I had a chance to watch another Philippine Movie this time and expected high since the last film “The Girl In the Orange Dress” was a nice movie, and this time I knew the actors in the film which made my expectation more high.

College couple Christine and Ralf calling each other “mahal” promised to marry in the future with having their own dreams achieved, Christine as museum diretor and Raf as a doctor (Wish by Christine). However when Christine felt and experienced massive failure in her life and career, Christine refuses to meet Raf and eventually they broke up.

The Scene moves on to Five years after at a rewarding forum where Christine and Raf met each other with having their own partner of life. Christine was living a totally different life, living with a man who saved her life (paid her debt). However, Raf became a doctor and was successful, living a life which seemed to make Christine proud of him. They set a time to meet each other at a particular bench where it contains memories of each other. Christine and Raf talks about the incident happened to Christine 5 years ago. The film goes on, Christine having a hard time in choosing between reality and her dream together with unexpected love again with Raf.

The plot of the film was quiet enjoyable. It showed the reality of life after graduation and it contained no single exaggeration about it. However, I found some awkwardness in the whole story itself. As the film jumps between past and present time, it somehow lacked detailed information like: Raf’s past life until now. It seemed like the film itself talks about Christine’s life alone. Also some part of the scene such as Raf talks to christine that his girlfriend has a baby, it was so awkward to create a certain circumstance of love in such a sudden. Still, it was nice that the film tackled about the reality of art industry here in the Philippines and talked to the audience with the theme of “dream”. It did not only show about love but I felt it was more about life & reality.

Talking about Cinematography, the angles, movement, acting and everything was nice and well built except one thing which is the fashion coordinator in the film. What I mean by fashion coordinator is especially with the stylist of Enrique Gil (Raf). Specifically going back to the scene of New York, the film showed the aesthetic atmosphere about the place and it connected well with the dream of Christine. New York became the turning point of Christine to live her a real life. However, with all those important things and meaning, the way how Raf was dressed up was a total mess. Christine was dressed well and it went well with the atmosphere of New York but Raf, seemed like he just don’t like winter. It neither matched with Christine nor the background. Here is where I felt the importance of clothing/ dress (as cinematography). On the other hand, Christine wore kind of dark color when she was living an unsatisfying life and kind of bright color when she gained happiness again in her life and during the college life (where she had full of ambition in life) which the clothing/dress gave small but strong role in the film.

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Speaking to the audience about to find and pursue your dream which is ignored by the reality gave me time to think of my life, dream and goal. Overall, with good theme and story itself, however, gave me some disappointment in particular scenes, I would rate this film as 2.5/5.

Alone/Together is a 2019 romance film (marketed as a Valentines Day film) produced by Black Sheep and distributed by Star Cinema, with Liza Soberano and Enrique Gil as the lead stars. The two previously starred in 4 films, namely, She’s the One, Just the Way You Are, Everyday, I Love You, and My Exs and Whys, and 2 teleseryes, their hit that captured the hearts of many – Dolce Amore and their latest – Bagani.

Antoinette Jadaone, the director, opened the film with such emphasis with the famous phrase, “Never Forget” but as the story progressed I realized that it was promising in the beginning but it got really frustrating until the end (basically after the scene where Christine (Liza), a volunteer art enthusiast guide with big dreams met Raf (Enrique), an aspiring doctor). As a local film enthusiast, I have watched a couple of Jadaone’s films and from what I remember and based from what I’ve noticed, she tends to dig deeper and she helps the audience connect with her characters to the point that it’ll feel like you’re sharing the screen with them. But this film disappointed me in ways that I could never imagine.

The cinematography of the film was underwhelming and the transitions were not executed properly. The film showcased the different museums located in New York City, but to say that I was disappointed with the shots would be an understatement. It was so fast-paced you couldn’t even appreciate the art works properly, it felt like they just wanted to put it there just for the sake of literally putting it there. I have always wanted to visit different museums in New York and once I’ve learned that they shot a couple of scenes in these museums sparked my interest but was let down.

The trailer of the film went viral in different social networking sites and it sparked the curiosity of many including me. There were many fans who created theories of their own based on the trailer. But the film was different from what everyone imagined. The film normalized and romanticized cheating and no one saw it coming. Also, as an aspiring filmmaker I am frustrated as to why they need to normalize and romanticize such things!!

But one scene that warmed my heart was between Christine and her mom. The way they comforted each other with tight hugs and comforting words made my heart ache in a good way (and maybe a bit in bad way). My greatest takeaway from the movie is that no matter how tough life gets our parents will always be there through and through.

˙˚ʚ(´◡`)ɞ˚˙ Myka ˙˚ʚ(´◡`)ɞ˚˙

Told in a non-linear construct, Jadaone presents the film’s characters with vibrance. Tin (Soberano), a goal driven Arts major from UP who reckons that she can change the world and Raf (Gil) a laid-back pre-med student from UST. However, their relationship boils down to an end when Tin, being the determined woman that she is, loses hope of Raf’s progression in life.

Jumping into present time, both are separately in a relationship and cross paths in an awarding ceremony. From this point, they rekindle the tales of their relationship and grasp that life didn’t bring them to where they expected to be.

As someone who has watched over a thousand romantic movies, Alone/Together is interesting. It hits its audience deeply by presenting a worn-out type of relationship. Above all, it entails the crucial mantle of individuality in romance and how one’s identity can either make or break that bond. The film reaches out to the youth. This is perhaps one of the things in the film that hits the mark. Themes of art and history are elements that also draw the viewers into the story.

The utmost strength of the film is that it was able to dig deeper into the character’s whirlwind of emotions. Not to mention Soberano’s unique approach to the character. There wasn’t a demand for hysterical, overwruoght lines. Her minimal, subtle performance was surprisingly effective.

More than the film’s story, the utilization of scenic shots supported by renditions of old school tracks added depth to the the scene’s mood. 

Alone together portrays the funny twists of life, ambition and experience squeezed in a stirring, heart-rending romance.

Marge Morales

Film review of Antoinette Jadaone’s Alone/Together.

Liza Soberano and Enrique Gil are teamed up for another romantic drama film—Alone/Together. It was released nationwide just in time for Valentine’s Day and has since garnered more than P200M.

The film follows college sweethearts Christine and Raf, who meet for the first time after their eight year split. Both are adults in relationship with different people and reminisce about their past, their dreams, and reflect on what their life has become.

I was personally praying to all the gods that I wouldn’t get to see this film (due to my personal bias against romantic Filipino films that tell the same repetitive plot with the same actors) but in the end I was glad I did get to see it because a) it proved my personal bias correct and b) it proved me wrong too.

‘The Liza Soberano and Enrique Gil card’—obviously their loyal fan base is the reason why this film earned so much in less than two weeks. I am not a fan of both, I’ve never seen any of their films together but I was truly amazed with their acting skills. Their chemistry was never something I doubted—they displayed nakakakilig and nakakasakit at the perfect times convincingly. Soberano captured Christine’s innocence and optimism well during her youth and her maturity and vulnerability when she ages.

Enrique’s character was okay, he did not have much screen time nor back story as much as Liza did. But with his few dramatic moments, you could see his vulnerability and realness which I enjoyed.

The plot was okay. Nothing unexpected took place. It’s a love story in the modern world. It does make you reminisce about your life after seeing it. It makes you question—are there dreams that I have ignored? Dreams that I thought were too big for me? Dreams that I put aside in order to live a more practical and convenient life? Alone/Together shows us that our dreams are still worth pursuing no matter how impossible they may seem or how hard they are to reach. All we need is the courage to change something that leads, and not deter, us to our dreams, goals, or aspirations.

I was in awe of the film’s cinematography. They had beautiful shots where they incorporated the scenery and made us of the warm/cool color tone.

I noticed how they used the warm tone to show when they were bright, young, in love, and so full of life and hope while the cooler tone was much more noticeable when they were older and much more distant from their dreams.

Overall, I would rate this film a 3.8/5. It was an okay film that I would recommend if you were into the Filipino commercialized-romantic drama since this seems to be the best one out there.

Ericka Frye

Alone/Together is more than just the typical mainstream film. It illustrates highly vulnerable love affair within a socio-economic context, exploring the real world in contrast to idea of university education. And it shows the idea of people who really strive hard to pursue their dreams and at the same time make their relationship works.  

Director Antoinette Jadaone created a beautiful love story about the two young people (Enrique Gil as Raf and Liza Soberano as Christine) trying to save their lives from the painful past they had both experienced, that those painful experiences lead them to the opposite of what they want to be and the chance for their relationship to bloom into a beautiful love story and working on the premise of what-ifs.

From the opening shot, Jadaone first presents, Tin (Liza Soberano’s character), an Art Studies major student at UP Dililman and a part timer at the National Museum, and she believes that she can change the world. That scene alone, established that the film will focused on her struggles. Then there’s Raf (Enrique’s character), a medical student from UST.

Tin, being the center of the story, is a passionate strong woman that came across to unfortunate circumstances in life. She may appear a strong aura but on the inside lives another character that faces hardships that even her outer self cannot ever show. But nonetheless, Liza herself did a great job portraying her character especially trying to redeem herself at the point where she is losing herself over and over again. 

So as the story continue, the romance between Raf and Liza in the actual film, is sweet enough to create much needed sense of kilig that audience wanted to feel. And the greatest what-ifs that made the viewer’s sympathized to their current situation and made them cried as well.

The last few scenes of the film point the story to a more hopeful direction. It leaves a reminder that no matter how stupid, or seemingly impossible, you have to chase your dreams. Because in the end, no matter how you successful you think you are opposite to what your dream was, it will never be compared to what really makes you happy. That message alone, makes Alone/Together worth watching.

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-Kristle Vital

a film review by justin joseph dizon

 “we must not forget”, said the museum guide to the children while discussing the history of Juan Luna’s Spoliarium

Christine “Tin” Lazaro (Liza Soberano) and Rafael “Raf” Toledo (Enrique Gil) were once college lovers. The once happy pair, with the term of endearment, “mahal” are students from two different schools with different points of view. Tin is an idealistic art studies student from the University of the Philippines who eventually finished with a magna cum laude distinction; she wants to be a museum archivist, she wants to work for MoMA, or The Met, or Guggenheim, she said she wants to change the world. Raf is a pre-med student from the University of Santo Tomas who is taking up biology and unlike Tin, Raf claimed that he is more realistic; Raf is not that much of an achiever like Tin, but nonetheless works hard and does his best. And like any “normie” couple, Raf said that one day he will be a doctor and Tin will be a museum director, and they will get married; a typical happily ever after.

when the museum guide said “we must not forget”, i saw it as a metaphor—we have our own personal histories and that we should always look back, unless we want to succumb again to our past mistakes…the operative word is “look” and not “go”

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*Photo courtesy of BLACK SHEEP

(spoilers ahead)

Five years after their breakup, the pair met again…in an awarding event. Raf became the successful doctor he always aspired to be and Tin is exiled from the art world because of an untoward incident in her first job. Tin now plays as a corporate woman but her reality is nothing but a trophy girlfriend and gofer to Greg (Adrian Alandy), an affluent businessman who is on the way to his annulment from his first wife. Raf is in a relationship with Aly (Jasmine Curtis-Smith), a fellow doctor. The two had a quick and a secret conversation at the venue and Tin suddenly received a text message from Raf, which reads “kita tayo sa sunken garden ng 6pm”.

Try asking UP students and they will tell you that Sunken Garden is a place filled with thousands of memories, particularly the bench in front of Malcolm Hall. Raf and Tin met and just talked about how everything went south, how everything turned sour, and how they found themselves in their present lives; their new reality. After 5 years, this is the first time that Tin told Raf about how she was implicated in the misuse of money in her first job. Tin’s decision to break up with Raf was rooted in this workplace drama. Raf gave a short but an abundant response “tangina naman Tin”. Tin played with the hand she was dealt even if that meant losing Raf and losing herself in the process. Tin, at 27, is no longer the woman she imagined herself to be. Like any other hopeful student who has big dreams and worked hard, Tin’s words reverberated:

“hindi ko alam kung anong nangyari sa’kin”

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*Photo courtesy of BLACK SHEEP

Tin and Raf went to New York City and there they became the lovers they once were. This is probably the strongest basis of many to argue that the film normalizes and romanticizes cheating. More than a romantic film, it is a film about people, about us, being harbored with our past lives. Our dreams that we already buried because they just aren’t meant for us no matter how hard we tried, are now zombies who rose from the dead and are out and about to chase and torment us. Tin and Raf’s failed happily ever after is not the only hearbreak encapsulated in this film. More than the ex-lovers, what’s more heartbreaking is the fact that our human nature to dream is limitless, bright, and vibrant…until the world’s cruelty will usher in to slap our faces and shove shots of reality, just like shots of Jose Cuervo, down our throats. 

“what if ‘di tayo nag-break?”

“what if ‘di ka nawala?”

“what if magkita tayo ulit, tapos pwede pa?”

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*Photo courtesy of BLACK SHEEP

Not to mention, the film’s soundtrack is spot-on. JM De Guzman’s rendition of Rivermaya’s “214” and Armi Millare’s “Kapit” are two songs played along pivotal scenes that will evoke the “feels” from the audience while watching. Antoinette Jadaone once again created a work of art that appealed to young audiences (she was also behind “That Thing Called Tadhana”, Never Not Love You”, and “Love You To The Stars and Back”), probably for reasons that the film is relatable and one cannot deny that its trailer and promo materials are intriguing and will stir interest even if you are not a fan of the “LizQuen” love team. Through the years, I have seen Enrique Gil and Liza Soberano on television and the silver screen and I must say, this has been their best and most mature performance. Alone/Together is heartbreaking and painful but it is something I would totally recommend, especially for those whose dreams did not come true, whose happily ever after’s went down in flames, and those who are still anchored with the past.

a narrative with a backbone built on “what if’s”, this film may or may not trigger your personal “what if’s”

“what if natupad yung what if na ‘yun?”