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Beyond the drag persona of Lola Nidora, Bayola’s romantic arcs in other sketches and segments often follow a specific, class-conscious formula: the underdog’s quest. In many JoWaPao (Jose, Wally, Paolo) sketches, Bayola frequently plays a poor, simple, or unlucky everyman who falls for a woman seemingly out of his league. Whether he is a trash collector smitten with a beauty queen or a struggling vendor pursuing a wealthy heiress, the comedy derives from the insurmountable gap between his status and his desire. These storylines rarely end in conventional "happily ever after" in the Western sense. Instead, the resolution is often comedic failure or a surreal twist. This reflects a distinct aspect of Filipino romantic comedy: the idea that love is as much a source of laughter and struggle as it is of triumph. Bayola excels at this because he plays the "failure" with dignity. His characters may be foolish, but they are rarely malicious. Their romantic pursuits, however doomed, are rooted in a charming, almost heroic optimism that resonates with a working-class audience familiar with rejection and social barriers.

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Wally is resistant. He crumples Lia’s script after one read. "Where’s the tadyak (kick)? Where’s the sampal (slap)? This is drama, not comedy!" he barks in the writers' room. Beyond the drag persona of Lola Nidora, Bayola’s

: Also played by Bayola, this character was the socialite cousin of Yaya Dub who served as a rival for Alden’s affection, adding a comedic "love triangle" element to the plot. The "De Explorer" Triplets : Alongside Jose Manalo ( Lola Tinidora ) and Paolo Ballesteros ( Lola Tidora These storylines rarely end in conventional "happily ever