On Season 15 of DragRace, a reliance on covering the queens' past traumatic experiences begs the question: who is Drag Race for anymore?
introduced a rainbow-colored spectrum of queer individuals to the masses—ones who did and did not subscribe to stereotypes, reflected more than just white cisgender gay men, and were, for all intents and purposes,in 1973; Pedro Zamora, the vivacious HIV/AIDS educator on MTV’swho gave a face to the ongoing AIDS crisis in 1994; or, of course, the indomitable Laverne Cox on VH1’sin 2008. It wasn’t just that these individuals brought their bodies, sexualities, and gender orientations to the screen.
.” No longer a low-budget late-aughts experiment, the Drag Race Empire has stretched its limbs globally, spawning spinoff series in 16 countries; in 2022 alone, 12 separateHowever, now in its fifteenth U.S. season, there’s one aspect of the show that feels so embedded in a bygone era of reality TV that it has come to impoverish the show’s foundational spirit of queer jouissance:.
When the series moved from Logo to VH1 for its ninth season in 2017, something shifted. Episodes were newly extended from a one-hour slot to 90 minutes, giving viewers more time with each of the queens, both in drag and out. The Werk Room, where queens prep for that week’s events, had been heavily featured throughout the series as a place for pre-performance jitters, heated arguments, and all-around shenanigans to ensue.
directly addressed this, reminding viewers that “we need America’s next drag superstar now more than ever.” Inevitably, this marketing decision and reprioritization of the queer contestants’ heartbreaking backstories qualified as a success: that year,would secure its first Emmy nomination and win in the Best Reality Competition Series category. From here on out, a wider, straighter audience was all but guaranteed.
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