Arts & Entertainment
Get swept away by ‘Sparks Camp,’ the Philippines’ first gay dating show
Landmark series creators discuss impact on LGBTQ representation in country
Whether it be iconic crashouts or jaw-dropping moments of drama, reality television has always had a tremendous impact on queer culture — but few shows have done as much in the fight for global liberation as “Sparks Camp.”
This series has awed since its premiere, with U.S. audiences discovering “Sparks Camp” when the first episode dropped for free on YouTube back in 2023. Focusing on a group of “Campers” who participate in romance-themed challenges while exchanging the titular “sparks of love,” the program made history as the Philippines’ first ever gay dating show. It was a landmark production for a country that still struggles with widespread prejudice against the LGBTQ community. Yet with each season comes increasing viewership and more people (both within the country and across the world) learning from the love on display and the many messages of queer self-acceptance featured in each episode. The Los Angeles Blade sat down with the cast and creatives behind this series as they wrap up their third season, with the “Sparks Camp” team breaking down what this groundbreaking show has done for LGBTQ representation in the Philippines — and how they plan to do even more going forward.
“The journey [to] “Sparks Camp” hasn’t been easy,” said Creative Head Hyro Aguinaldo, as he spoke to the Los Angeles Blade alongside Director Theodore Boborol. The pair detailed the many difficulties they faced in getting greenlit by ABS-CBN — one of the Phillipines’ biggest TV networks — and their fight against an entertainment industry that had never given LGBTQ stories the platform they deserve.
“Most queer individuals here in the Philippines are tolerated, but not accepted,” explained Boborol. “Queer people are usually only relegated to [comic relief], never [portrayed] in any serious way … and that includes, of course, reality shows.”
He describes how impossible it once seemed that they’d actually get to create the program and, now that they’re wrapping up its third season, how heartwarming it’s been to see LGBTQ audiences fall in love with the project. It’s not always a great experience, as the series has been the victim of countless discriminatory attacks online. But it’s undeniable that “Sparks Camp” has become one of the most educational, authentic portrayals of what it truly means to be LGBTQ in the Philippines today … but what is it like to actually be on the show?
While reality series can skyrocket contestants to internet fame, none elevate their cast to international icon status like “Sparks Camp” does for its ensemble. Season 3 stars Andrew, Kim, and Edward spoke about how thrilling it felt to have their attempts at romance get filmed on camera, with Kim saying, “Being there in the camp with nine other strangers, where I have to be as vulnerable as I can!? It was very challenging!” From half-naked mud wrestling tournaments to discussions about healing from trauma, the experience is intense enough on its own, yet it wasn’t until their installment began airing that the men realized just how influential these moments would be in the Philippines’ ongoing fight for queer rights. These were narratives that the heterosexual members of their audience (a demographic that has steadily increased since season one) weren’t used to, with Andrew detailing, “One of the reasons why a lot of people are unaware [about LGBTQ issues] is because we’ve been restricted from talking about these very normal topics.” They all explained how mainstream Filipino culture often discourages discussions about sexual safety and LGBTQ romance, meaning not only are people disallowed from learning about these identities, but young queer folk aren’t able to see themselves represented onscreen.
“Moving forward,” said Edward. “I want queer boys and girls to see their stories reflected in ours.”
Representing your community on such a large scale can be daunting, but these campers take pride in using every scene to show their audience what it means to be gay in the Philippines today. It’s a heavy responsibility for many, but luckily, this show is hosted by someone who truly knows what it means to fight for your found family: “Mother Sparker” herself, Mela Habijan.
When she isn’t advocating for transgender rights or winning international pageants, Habijan acts as the host of “Sparks Camp,” moderating the series and imbuing each episode with her unique brand of self-love. It’s a role she does not take lightly, emphasizing, “Whenever I spend time with [the campers], there’s an assurance that their stories are safe, that this isn’t just a mere reality show about finding love — it’s [a space] for them to find value in themselves.”
It’s an assurance that shows through the screen; whether it’s witty banter at challenges or reminding Campers to love themselves above all else, she brings a level of care to her role unusual for your typical reality host. She describes how this kind of openness is sadly missing in the Philippines, with the country’s deep roots in Catholicism meaning anti-LGBTQ discrimination is the norm in many areas and that there are few laws safeguarding queer rights. It’s because of this that she recognizes just what a huge impact “Sparks Camp” has on their local communities, saying, “I take pride in being ‘Mother Sparker’ because once a young trans person [watches the show], they can say: my future can be in front of the camera.” Habijan, who’d spent her entire career fighting to make easier pathways for other trans artists, emphasized how essential it is for people to see her and her campers being their truest selves onscreen. “The future is bright for [young people], because if they see more and more people who reflect [their] same experiences, then they’ll gain the courage [they need].”
“Sparks Camp” stands out not only for its historical impact, but because it does something that few reality shows are able to: it offers an amazing show, with an even better message. As each of the team expressed in their interviews with the Blade, this program and the few others like it are bringing LGBTQ stories to the Philippines like the country has never seen before. It’s helping to not only start vital conversations surrounding the respect and rights of queer communities, but fosters a kind of inclusive, love-filled influence that any viewer, no matter what country they’re watching from, can benefit from. In the last few moments of her interview, Mela Habijan perfectly encapsulated the core of what “Sparks Camp” is truly about.
“The value of their being queer … that’s what matters most. When you create and enrich the love that [the Campers] have within [them] — even if they don’t find the spark at the end of the series — they will end their journey at ‘Sparks Camp’ with so much pride in themself.”
It’s a pride that LGBTQ people worldwide can use now more than ever, and luckily for all, it’s a pride that anyone can watch three seasons of for free online right now.
Mr. Henry’s Victorian Pub will host a gala celebrating its 60th anniversary on Saturday, Aug. 29 at 7 p.m.
There will be signature cocktails, beer and wine; plentiful throwback hors d’oeuvres, three live bands and a cocktail attire red carpet.
Tickets start at $50 and can be purchased at mrhenrysdc.com.
Friday, August 7
Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Silver Diner Balston. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
Saturday, August 8
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
The DC LGBTQ+ Community Center will host “RA Xtra: Manhood” at 1:30 p.m. “MANHOOD” follows Dallas entrepreneur Bill Moore as he attempts to make penis enlargement as commonplace as Botox. Along the way, an OnlyFans star and a father of five put their bodies—and their insecurities—on the line. Blending dark humor with unexpected empathy, MANHOOD examines shame, addiction, and the fragile myths of American masculinity. More details are available on the DC LGBTQ+ Community Center’s website.
Sunday, August 9
“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen at this unforgettable Drag Brunch. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite.
Monday, August 10
“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit genderqueerdc.org or Facebook.
Tuesday, August 11
Trans Discussion Group will be at 7 p.m. on Zoom. This event is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected].
Wednesday, August 12
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Thursday, August 13
The DC LGBTQ+ Community Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC LGBTQ+ Community Center’s website.
Movies
Greg Araki still wants your sex
Shrewd, sexy film may be the most fun you’ll have this summer
Greg Araki may not have been solely responsible for the “New Queer Cinema” movement of the 1990s, but he certainly gave it an edge.
From early low-budget groundbreakers like “The Living End” (1992) through his “Teen Apocalypse Trilogy” (1993-97) and beyond, his films have subverted cinematic tropes with queer characters and themes and co-opted them into his own unique brand of filmic storytelling — extreme, campy, and transgressive – in which his queer characters were usually framed as sexual outlaws, flawed and anti-heroic outsiders who disregard not only sexual conventions, but often the law and the social order itself.
In subsequent decades, he’s continued to bring that same fiercely counter-cultural swagger to a surprisingly diverse array of projects, from the melancholy and critically acclaimed “Mysterious Skin” (2004) to the first-ever Cannes Queer Palm winner “Kaboom” (2010). And though it’s been 12 years since his last feature film release (“White Bird in a Blizzard”), he’s brought his twisted talents under the radar to helm episodes of popular TV shows like “13 Reasons Why,” “Riverdale,” and “Monster: The Jeffrey Dahmer Story.”
Now, he’s back to the big screen with “I Want Your Sex,” a new erotic comedy-thriller that proves he hasn’t lost that edge. In fact, he may have honed it to a sharpness that cuts deeper than ever — and he’s aimed it not only at the moralistic posturing of mainstream attitudes around carnality, but at the thinly veiled high end consumerism that drives the world of avant-garde art.
Structured with a nod to “Sunset Boulevard” – it begins with a shocking “face down in a swimming pool” moment that is then explained in flashback – and flavored with the kind of sexual anarchy that rarely manages to penetrate the cultural mainstream, it’s the quintessentially “L.A.” story of Elliot (Cooper Hoffman), a perennially down on his luck 23-year-old would-be podcaster who manages to land a job as an assistant to multi-media artist Erika Tracy (Olivia Wilde), known as much for her domineering personality as for her highly sexualized (and deliberately provocative) work. At first, he is just one of a small army of fellow assistants tasked with helping prepare for an exhibition of new work at her gallery, which ranges from writing emails and scheduling interviews to chewing gum for a conceptual artwork depicting her vagina; but something about him catches her eye, and he soon finds himself taking on the additional duty of being her sexual plaything.
It’s strictly a business arrangement, of course, and all under cover of an NDA he signed before ever being hired; she needs the sexual outlet to keep her focused on her work, and he – thanks to his unsatisfying relationship with disinterested girlfriend Minerva (Charlie XCX) and his desire to finally pay his share of rent for the apartment he shares with BFF Apple (Chase Sui Wonders) – is happy to be of service. At first, it all feels like a dream come true, as he crosses his own boundaries to become enmeshed in a Dom/sub dynamic with an older woman on whom he’s long had a crush; she’s the Dom, of course, and he soon discovers he has more than just a mild taste for being submissive. But as things progress, he begins to “catch” the feelings he was never allowed to have, while Erika’s manipulation and humiliation of him starts to cross lines that threaten to undermine his tenuous sexual liberation, simultaneously eroding the comfortable relationships that have kept him feeling grounded, if perennially dIsappointed, up until now. Needless to say, things get progressively twisted, and Elliott finds himself ever more haplessly exploited as the story winds back to that “swimming pool moment” with all the inevitability of a train wreck experienced in irresistibly delicious slow motion.
Yes, it’s all deliberately “shocking” in the sense that it takes us places – both sexually and psychosexually – that a lot of audiences might never have thought they’d be expected to go. There’s plenty of nudity, the kinky sex is “explicit” in the sense that we have no doubt about the physical logistics of what’s happening even if we don’t see it, and the overall sense of “ethics” is pretty much “who cares?” In today’s world of “purity politics,” that might actually be the most transgressive thing of all about Araki’s film.
It’s not all just thumb to the nose at 21st century morality, however; nor is it merely a chance to undermine our faith in concepts like “consent” or suggest that inappropriate sexual dynamics in the workplace are anything other than toxic. Erika is most definitely a kind of beautiful monster – all the more because her angle, from the beginning, is all about increasing the value of her “brand” – but to frame her as a villain is missing a crucial point in what is essentially, despite its coy pretense at being a thriller, a coming-of-age story wrapped in a dark and de-romanticized rom-com.
Central to Araki’s story is the oft-cited observation that Gen Z people, having come of age in a time of social isolation in which private indiscretion can frequently lead to public shame, are afraid of sex. Elliot himself discusses this generational trope, yet he exposes himself to betrayal and humiliation anyway – and while that choice may take him down a rocky road, it also takes him on the journey of sexual self-discovery that he’s always wanted to have. Erika facilitates this, however unethically she may go about it, and even makes some discoveries about herself along the way; and despite the fact the journey ends up with police interrogations, tabloid scandal, and reversals of fortune not even she can see coming, the sex itself is never really to blame. After all, it’s only sex.
Maybe that’s the main point of “I Want Your Sex,” if there is one: all the stigma, all the prudish judgments and standards of moral “decency” become absurd in the face of the act itself, which – for most humans, at least – only comes naturally and, when stripped of unnecessary shame, can be a joyful experience, no matter how “kinky” it gets.
In fact, it’s not so much the sexual “deviance” or betrayals that Araki positions as the driving force in his movie, but the pretensions of a commercialized art world in which notoriety, controversy, and even tragedy can boost fame and fortune overnight – something that savvy artists, like Erika (and perhaps Araki himself) understand and exploit without qualm. One can make judgments about that, too, but in the end, isn’t that just part of how capitalism works?
In any case, “I Want Your Sex” doesn’t make judgments about any of it, just observations – with wit, slyness, and a refreshingly sex-positive attitude. Wilde and Hoffman deliver superb performances, as does the entire cast – which, apart from others previously mentioned, includes Mason Gooding as Elliot’s super-gay co-worker, Daveed Diggs as Erika’s haughty business manager, and Margaret Cho and Johnny Knoxville in admirably deadpan roles as a pair of police detectives. Shrewd, sexy, and all in good fun, it might well be the most fun you’ll have at the movies this summer.
Mr. Henry’s to host 60th anniversary party
Calendar: August 7-13
Greg Araki still wants your sex
Insured on paper, excluded in practice
D.C.’s Mary’s House For Older Adults names new executive director
Reggie White relishing first season as artistic director of Woolly Mammoth
Madonna headlines World Pride Music Festival in Amsterdam
PHOTOS: Petal Release Party
My evening with Madonna
