36 THE ANATOMY OF THE FOREIGN(-OY/-AY) 2.0: A COMMENTARY ON EAT BULAGA’S SEGMENT USING POPULAR FORMS OF ONLINE DISCOURSE AND POP CULTURE Dominique Angela M. Juntado Doctoral Candidate in Social & Cultural Anthropology University of the Philippines Diliman dmjuntado@gmail.com ABSTRACT This article is a reconstruction of the author‟s initial, unpublished, inventive work critiquing a segment of a Philippine noontime show called Eat Bulaga. It is a creative sociocultural obiter dictum which is about the twin segments entitled YOU‟RE MY FOREIGNOY and YOU‟RE MY FOREIGNAY. It brings to light its significance as not only a mass cultural reference but also in terms of questioning the parameters of belonging in a foreign culture and the extent of being able to become a part of a national history. Readers of this article will see how while this is a Philippine case which is based locally, it is global in its reach and provides scholars of the social sciences an interesting point of argument for the discussion of the politics of culture. KEYWORDS: Foreignoy, Linguistic Anthropology, Colonial Mentality, National Pride, Ethnic Pride, Noontime show, Eat Bulaga, George Carlin, Rex Navarrete [I. NOTES FOR THE ACADEMICIAN AND THE FILIPINO POP CULTURE ENTHUSIAST (By Way of an Introduction)] Television is lifeblood in the Philippines. It doesn‟t really matter how big it is; colored, black and white, high definition or not; cable or antenna --- it‟s the predominant source of entertainment and information that people tune in to. A nice, sturdy set often replaces the Baudrillardan idea of what the heart of the home should be --- a clock [Baudrillard 2005: 22-23]. And to be on it is something else entirely. There have been instances where it offers people the chance to have their dreams come true, and there are also those moments where it‟s all about their nightmares. But what is most fascinating about local television is the colorful crush of (pop) culture, presented in what can be called „a three and a half hour, audio-visual side dish‟ --- dubbed the „noontime show‟. The Filipino rendition of a successful noontime show doesn‟t really have any synonymy with the Western take on the variety or game show. It focuses on the individual, talents, and wit; if ever there would be any games, they are more often both substance and vehicle for a political economy of emotions. The objective of the Filipino noontime show