OPINION: We mocked ‘Ang Tanging Ina’ and ‘Girl, Boy, Bakla, Tomboy’—and they predicted today’s reality

The films explored a presidential assassination plot, oil supply concerns, and sosyal vs. jologs

Filipinos have found a renewed appreciation for “Ang Tanging Ina” (2003) and “Girl, Boy, Bakla, Tomboy” (2013) since March. Once dismissed as “corny,” “baduy,” or “low quality,” their resurgence suddenly makes perfect sense in the 2026 Philippines.

Life, after all, has been unrelenting: gas prices over ₱100 a liter, rising costs of basic goods, political infighting, global conflict, and an endless cycle of grim headlines. Filipinos have always turned to entertainment—especially comedy—as a form of escape. Lately, this escape has felt less like indulgence and more like necessity.

But why those two films in particular?

“Ang Tanging Ina” follows Ina Montecillo (Ai-Ai delas Alas), a thrice-widowed mother raising 12 children who each carry their own problems. The chaos of managing a dozen lives could be a metaphor for navigating mounting, overlapping crises. It’s also a stark contrast to today’s increasingly popular “dual income, no kids” or DINK lifestyle.

But it’s the 2008 sequel, “Ang Tanging Ina N’yong Lahat,” that has struck an even deeper chord. A viral clip reshared by meme page Santa Marites shows Ina as President; she won the snap elections after exposing the Vice President’s assassination plot against the then-president. In November 2024, VP Sara Duterte claimed contracting a hitman to kill President Bongbong Marcos, First Lady Liza Araneta-Marcos, and House Speaker Martin Romualdez if she gets assassinated.

During Ina’s tenure, she negotiates “oil for free” with Arab leaders by teaching them rain dance. A newspaper headline then reads: “No oil price hikes during my term — President Ina.” Predicting the future, huh?

“Girl, Boy, Bakla, Tomboy,” meanwhile, is enjoying a more straightforward revival. It follows estranged quadruplets Girlie, Peter, Mark, and Panying (all played by Vice Ganda), who are forced to reunite over a medical emergency. Filipinos have always observed close family ties and experienced sibling rivalries, so it’s instantly relatable.

A March 24 TikTok upload from ABS-CBN PR reignited interest via the scene where Girlie, in a “sosyal” accent, confronts Mark: “Goodness gracious! Ikaw ‘yong nag-shoplift. You were the one caught stealing on CCTV. Oh my God! No way! I cannot take this anymore. No way! My twin brother is a criminal!” In a “jologs” accent, Mark responds: “‘Yan ang di ko matatanggap. Ang tawagin mo ‘kong… brother.” The exaggerated duality mirrors the ongoing discourse on “geng-geng” and “young stunna” in Bonifacio Global City—even as the gap between the rich and the poor has never been wider. As a bonus, people have likened Girlie’s appearance to Sabrina Carpenter, one of the biggest acts today.

There’s also context behind the comeback. Star Cinema made the films available on YouTube for free last December. It’s most especially welcome in an era when movie ticket prices are already between ₱300 and ₱500, even higher. Being pangmasa and libre are the dynamic duo that chronically online Filipinos desire.

And then there’s legacy. Both films were directed by Wenn Deramas, whose box-office run from the late ’90s to the 2010s helped define mainstream Filipino comedy. Despite debates on his filmography’s depth, its cultural imprint is undeniable—perhaps even better understood now than when it first came out

In today’s Philippines, the truth is becoming far, far stranger than fiction. What was once exaggerated is now oddly familiar. What was once “baduy” feels like a documentary. The likes of “Ang Tanging Ina” and “Girl, Boy, Bakla, Tomboy” didn’t change. Reality did, and we’re living in them until who knows when.

 

 

Life, after all, has been unrelenting: gas prices over ₱100 a liter, rising costs of basic goods, political infighting, global conflict, and an endless cycle of grim headlines. Filipinos have always turned to entertainment—especially comedy—as a form of escape.

 

 

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