In this paper, I examine the role of feelings and affect that accompany narratives built around food commodities in shaping collective fantasies of family, Filipino-ness, sites of happiness, and optimistic futures. While there already exists a sizable scholarly corpus on fast food advertising, they overwhelmingly exhibit an overdependence on either content analysis or ideology critique, which in my estimation, tend to underestimate, if not altogether disregard, the cultural politics of emotions. My intervention conscripts critical tools of cultural analysis developed within Affect Theory and Psychoanalysis to foreground the role of both feelings and fantasy in Jollibee Food Corporation’s Kwentong Jollibee [Jollibee Stories], a highly successful digital marketing campaign. I argue that Kwentong Jollibee participates in the construction of what Lauren Berlant (2008) calls an “intimate public”, which in contrast to the Habermas’s rational “public sphere,” is a space where feelings and sentimentality dominate, where differential hierarchies are obscured, where emotional continuity is established, and where pleasure is generated by the irrational assurance that structural obstacles will crumble through the power of positive feelings and good intentions. I suggest that Kwentong Jollibee creates an “intimate public” through low-resolution fantasies that are able to consolidate desires across various hierarchies of social difference and diverse locations to establish emotional continuity. Such fantasies are mobilized to obscure differences under the unifying power of commodities whose proximity sustains collective fantasy structures that elide social antagonisms expressed in the domain of culture and also resolves complex structural socio-political problems with the simplicity of positive feelings. In saying that these fantasies are collective, I am also emphasizing how they create and sustain illusions of belonging, which serve as respite to a world that is experienced as cold, oppressive, and cruel. Crucially, these fantasies entangle positive feelings with certain habits of consumption making commodities as, to use the term of Sara Ahmed, “happy objects,” which become necessary in imagining and aligning the self toward so-called optimistic futures. My project is opposed to the idea of thinking of capitalism as a cold, heartless, emotionally barren system, to foreground how capitalist structures are opportunistically dependent on emotions and feelings to create, address and expand its market, and even to insidiously commodify experience itself.