Queer clickbait nation

By Noel Galon de Leon

In the Philippines, we often celebrate how “open” society has become toward the LGBTQ+ community, yet this openness is sometimes only surface-level. Behind colorful shows and viral content, there are strategies that profit from queer audiences without truly making space for their lived experiences. This is where queerbaiting emerges as a deceptive form of representation.

Queerbaiting is not new in global media, but its impact becomes clearer when examined in a local context. In the Philippines, where the entertainment industry and social media hold strong influence, such tactics spread quickly. The problem is that this is not just harmless marketing but a form of exploitation.

In Iloilo, a city known for being progressive and artistically vibrant, this issue is also present. As queer spaces and creative expressions continue to grow, some content appears to use queer identity merely as decoration. Representation is not enough if it lacks depth and accountability.

Queerbaiting often appears in content that shows romantic tension or queer-coded behavior without any real commitment. It suggests possibility to the audience but ultimately retreats from it. The result is that queer viewers are left hanging while their emotions become commodified.

A clear example in local discourse is the controversy surrounding Dog Show Divas. The group gained attention for their flamboyant performances and online presence, yet critics argue that their content walks the line between empowerment and exploitation. It remains unclear whether this is authentic queer expression or a calculated attempt to go viral.

Many supporters of Dog Show Divas argue that their content reflects authentic queer humor in the Philippines. It is true that camp and exaggeration are part of queer culture. However, the question remains who benefits and who is being used.

Queerbaiting becomes more complex when the creators themselves belong to the LGBTQ+ community. This does not automatically shield their work from criticism. Even queer creators can feel pressured by algorithms and audience expectations to produce content that sells rather than content that matters.

On social media platforms, engagement is the measure of success. If queer-coded content brings views, the temptation to continue producing it becomes strong even without meaningful representation. This is where the cycle of queerbaiting begins and becomes difficult to break.

The issue with queerbaiting is not only about content but also about its impact on how queer identities are perceived. When queer experiences are repeatedly framed as jokes or teases, serious conversations about real LGBTQ+ lives are diminished. An entire community risks being reduced to caricature.

In the Philippines, where discrimination still exists, proper representation matters deeply. It is not enough to have queer presence if it is not grounded in reality. Visibility without authenticity can do more harm than good.

In Iloilo, there are grassroots movements and local artists who are pushing for genuine queer narratives. They deserve more platforms and stronger support. Their voices should not be overshadowed by viral yet shallow content.

Queerbaiting is often defended as “just entertainment.” However, entertainment is not separate from social responsibility. Every piece of content that reaches the public helps shape perspectives.

Some creators claim that queer interpretations are simply imposed by the audience. Yet when the same hints and tropes are repeatedly used, it becomes difficult to believe that it is purely accidental. There is a pattern that must be recognized and questioned.

The Dog Show Divas issue has opened a deeper conversation about authenticity. It is not enough to label something as art if people feel hurt or invalidated. Art holds power, and with that power comes responsibility.

At the same time, creators should not be immediately canceled without thoughtful understanding. What is needed is dialogue rather than pure outrage. That dialogue must be grounded in respect and accountability.

Queerbaiting is a symptom of a larger problem within the media industry. As long as profit remains the primary motivation, the temptation to use queer identity as a marketing tool will persist. This is a cycle that needs to be broken.

In the Philippines, fandom culture is strong. When a queer-coded pairing emerges, it quickly gains popularity and a loyal following. This becomes a leverage point for some producers and creators.

However, fandom should not be used as an excuse for the lack of genuine representation. Excitement and romantic tension are not substitutes for visibility. Hints are not a replacement for commitment.

In Iloilo, there is real potential to become a model for inclusive storytelling. Many local creatives are capable of telling authentic queer stories. They simply need to be supported and heard.

Queerbaiting is not merely an issue of preference or interpretation. It is a matter of ethics and representation. If left unchallenged, exploitation will become normalized.

The LGBTQ+ community has long fought for visibility and acceptance. It is unjust for their identities to be used merely for clicks and views. Respect should never be conditional.

For audiences, it is important to remain critical of the content they consume. Not everything that appears queer-coded is progressive. Sometimes, it is simply manipulative.

For creators, there is a responsibility to be honest in their representation. If they cannot commit to queer narratives, they should not use them as bait. Authenticity is more valuable than virality.

For brands and producers, it is important to remember that the LGBTQ+ audience is not a monolith. They cannot be easily deceived by repetitive tactics. They value genuine stories over empty gestures.

Queerbaiting serves as a reminder that visibility alone is not enough without integrity. In the Philippines and in Iloilo, there is an opportunity to reshape the direction of representation. The question is whether we are willing to choose truth over convenience.

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Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as Secretary of the National Commission for Culture and the Arts-National Committee on Literary Arts.