Think of Judy Ann Santos in the dark, horizontal.
The muscles in her arms strain against the
gravity of push and pull, and she sweats
profusely, her breath coming in very audible
gasps of air.

It had all the charge of an erotic movie.
Judy Ann = sex is disorienting. It veers
away from our usual concept of Judy Ann as
virginal orphan, the girl everyone seems
to take a potshot at, the eternal api-apihan
in soap operas. But this was the first scene
of Bakit Di Totohanin, and it pumps more
electricity than the conjured up scenes of romance:
Judy Ann and Piolo romping by the beach,
hugging and kissing in wet clothes. Those
were kilig, and aimed at the fans, something
to scream and swoon for.

Then there was the spectacle of Judy Ann and Piolo
training together in the gym, in spartan amounts of
clothing, all sweat and brawn, with a considerable
amount of restraint as they breathed deeply
and inhaled each other's essence. Around the
same time the audience realizes what was going
on, if they actually realize it at all, the
characters sense it themselves, and the gaze
is broken. There is more power in those few
seconds of eye contact than the whole film
put together. Judy Ann was suddenly an object
of desire, and we had to look away because
we've never considered it before.

Then the next thing you hear, Judy Ann is
starring in the next Darna movie. That is
going to be one turbulent ride.