The transition wasn’t easy. “When I moved to Los Angeles, I had US$200 to my name,” he recalls. “I didn’t have a job or a plan. But sometimes, you need the right amount of delusion to make it in this industry.”

Santos’s breakthrough came with Superstore, where he played Mateo, a snarky retail worker whose storylines often reflected his own experiences as a queer immigrant. The role wasn’t initially written for a Filipino—or even a queer character. “Mateo was supposed to be a straight Latino guy,” Santos reveals. “But when I auditioned, I brought so much of myself to the role that they rewrote it.” It was a career-defining moment that showcased how authenticity can reshape Hollywood’s rigid narratives.

This authenticity extended to his next significant role in Crazy Rich Asians, where he played Oliver T’sien, the flamboyant “rainbow sheep” of the family. Encouraged by friend and fellow comedian Ali Wong to audition, Santos initially didn’t think he’d land the part. “Then, they called me out of nowhere and said, ‘Pack your bags. You’re going to Malaysia,’” he recalls. The film’s massive success cemented his place in Hollywood and underscored the importance of representation.

Yet, Santos admits the weight of representation can be daunting. “People kept telling me, ‘You’re the first person who looks like me on TV.’ And I realised I have a responsibility,” he says. “But it’s not a role I’m always comfortable with. I want to do my work and be myself.”

This duality—wanting to break barriers without being pigeonholed—has defined Santos’s career. From Crazy Rich Asians to Marvel’s Guardians of the Galaxy Vol. 3, he’s found ways to bring his heritage into his roles, even when it wasn’t explicitly required. “When you look at me, I’m Filipino,” he says. “There’s no escaping it. So, why not lean into it?”

When Santos speaks about his heritage, it’s with a mix of pride and practicality. “A lot of the roles I’ve booked weren’t written as Filipino,” he says. “But I always find ways to bring my culture into them. Even if it’s just a small detail, it matters.”

This ethos extends to his collaborations. In NBC’s sitcom St Denis Medical, he plays the “Regina George” of Filipino nurses, a character that speaks Tagalog and incorporates distinctly Filipino humour. “I told the writers you can’t have a show about nurses without a Filipino character,” he laughs. “It’s just not realistic.” The part features plenty of Tagalog dialogue that was at first translated literally. He then suggested fixing the translation, including some slang like jowa (partner) to be more realistic and current—proof of his insistence on showcasing his culture. “I told the network, ‘If we’re doing this, we should do it right. No mistranslations.’”

Santos’s authenticity has earned him fans and critics alike. “The more I leaned into being myself, the more people responded,” he says. “Instead of trying to mould myself into what I thought Hollywood wanted, I decided to show them who I am.”

Despite his success, Santos remains grounded. “If you tie your self-worth to external validation—awards, followers, whatever—you’ll be miserable,” he says. For him, the joy lies in the work itself. “It’s a village effort, making a show or movie. You collaborate, you laugh, you problem-solve. It’s the best job in the world.”

His passion for collaboration shines through when he talks about his upcoming projects. In addition to his sitcom, he’s guest-starred in an episode of NBC’s Night Court. “I’m always looking for ways to stretch myself,” he says.

Santos isn’t slowing down anytime soon. His next big project, The Z-Suite by Fox Corporation’s streaming platform Tubi, pairs him with Gilmore Girls’ Lauren Graham in a workplace comedy about generational clashes in advertising. “It’s been a blast,” he says, reflecting on the three months he spent filming in Toronto. The show, which he describes as “a hilarious take on Gen Z and millennial stereotypes”, is set to premiere this year.

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When asked about his dream roles, his face lights up. “A movie musical,” he declares. He even joked to director Jon M Chu that he should have auditioned for both Elphaba and Glinda roles in the film adaptation of Wicked. He’d love to sing in a DreamWorks or Pixar film someday. “Or maybe play a ridiculous Broadway character. But first, I need to retake singing lessons. It’s been a while.”

Still, he’s not afraid to venture into uncharted territory. “I’d love to try drama too,” he says. “But for me, the best stories are the ones that balance drama and comedy. Life is never all happy or all sad. It’s always a mix of the two.”

Despite the growing list of projects, Santos admits that challenges are inevitable. “After the strikes, it’s been tough,” he says. “I went a year and a half without booking anything meaningful.” But he remains grounded and continues to move forward.

Santos’s return to the Philippines feels deeply personal. “They want me to connect with the local entertainment community and share insights about Hollywood,” he says. He’s also open to acting in local films, though he stresses the importance of finding the right project. “There’s no reason we can’t compete internationally. We have all the talent and resources.”

For Nico Santos, every step of his career—from playing minor roles in school theatre productions to starring in Hollywood blockbusters—has been guided by determination, humour and authenticity. “I just wanted to pay my bills,” Santos reiterates, but his impact goes beyond that. He does more than entertain. He inspires. By unapologetically leaning into his identity, he proves that being oneself can be the most radical and rewarding act.

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