Muah Dayaw fires back at ‘Drag Me Daddy’ backlash: “Kailangan maging selfish to survive”

Drag performer defends casting in Darryl Yap series, cites survival, first lead role, and harsh realities of gig economy.

“Need mo talagang maging selfish to survive.”

This was how drag performer Muah Dayaw responded to the backlash from some drag fans following her casting in Darryl Yap’s controversial microseries “Drag Me Daddy.”

The Viva Movie Box series, which also stars Hashtags member Kid Yambao and drag performer Lady Gagita, has drawn criticism online. Critics questioned its decision to center a straight man in a drag narrative and its association with Yap, a polarizing figure due to his political affiliations and content.

In a statement posted online, Dayaw addressed the disappointment from fans, acknowledging that her decision may come across as self-serving.

“I may sound selfish. Well, siguro nga selfish talaga ako kasi growing up alone, need mo talagang maging selfish to survive,” the drag artist wrote.

Dayaw explained her reasons for accepting the role, citing both personal and practical realities. She shared that growing up alone, without parental support, forced her to prioritize survival.

She also pointed to the opportunity to take on a lead role for the first time, regardless of the director, and admitted she needed the talent fee after losing her home bar, noting the challenges of relying solely on local drag gigs.

Addressing Yap’s involvement, Dayaw clarified that the cast and crew were hired by Viva, and that the project was not solely the director’s independent production. She added that several established artists have worked with Yap despite differing political views.

Dayaw also defended the series’ narrative, urging critics to watch it before passing judgment and maintaining that it does not promote any harmful agenda. She said she did not wrong anyone by accepting the role, adding that detractors are free to “cancel” her if they see fit.

Drag performers and independent artists largely operate within the Philippine gig economy, where income depends on nightlife bookings, per-gig contracts, and tips. This reliance on short-term work often leaves live performers without mandated labor protections.

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