<p>This article provides insight into how Filipino drag serves as a form of affective world-making. It is a form of creative practice through which queer artists transform affect into cultural labor. This is made possible by crafting alternative ways of feeling, belonging, and imagining life. Drawing on in-depth interviews with drag artists in Metro Manila, the study explores how they navigate and disrupt existing normative structures through embodied expressions of grief, rage, joy, and care. These affective registers are central to the labor of drag and operate beyond entertainment or political protest. We argue that it is in the relational and affective practice that makes space for queer futures in the Global South. Anchored in the affective infrastructure of Lauren Berlant and affective labor of Michael Hardt and Antonio Negri, this article identifies three interwoven modalities of drag. First, we note that drag produces counter-normative affect, which opens space for alternative modes of belonging and political feeling. Second, drag produces pedagogies of pleasure and critique that make political discourse emotionally legible. Lastly, drag sustains community through shared performances of memory, solidarity, and hope. The findings suggest that drag in the Philippines functions as a mode of affective infrastructure. It is a system through which alternative emotional and political realities are performed and felt. In centering the concept of affective world-making, this paper reframes Filipino drag as an emotionally-charged form of queer labor that assembles collectivities, produces feelings of dissent, and opens new imaginations of queer life.</p>