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The Tufts Daily
Where you read it first | Friday, March 29, 2024

Drag merges into internet culture with 'RuPaul's Drag Race'

rupaul1-ALL-STARS-GROUP

When “RuPaul’s Drag Race” (2009–present) alum Jasmine Masters uploaded a video entitled “RuPaul drag race f***** up drag,”  fans of the reality-competition show raised their eyebrows. After all, Jasmine Masters was notoriously eliminated for her lackluster performance in the season seven “ShakesQueer” challenge, where she had the worst comedic timing in the show’s herstory. Yet Alaska's controversial crowning on “RuPaul’s Drag Race All Stars” (2012–present) as well as drag star Phi Phi O’Hara’s interview with Vulture suggest that Jasmine Masters’ comments hold some validity. With a substantial increase in ratings and significant internet attention, Logo TV’s number-one show on air is shaping queer culture, for better or worse.

Before RuPaul’s Drag Race, the word “drag” was largely associated with gay club entertainment and the provocative films of the drag superstar Divine. RuPaul herself redefined drag when she premiered her dance hit “Supermodel (You Better Work)” in 1992 and had a moderately successful career appearing on TV shows and sponsoring MAC cosmetics. That being said, drag was still predominantly claimed by queer culture, even in the '00s. Inspired by successful reality-competition series like “America’s Next Top Model” (2003-present) and "Project Runway" (2004-present), “RuPaul’s Drag Race” aired on a LGBT network targeting LGBT viewers.

The show wasn't a hit in the ratings until season four, in which winner Sharon Needles shook the drag community. Sharon Needles was neither a “pageant queen” nor a “comedy queen,” and she refused to be associated with conventional drag labels. Eerie, fashion forward and funny, Needles’ drag aesthetic was awfully refreshing and allowed a younger audience to follow the show.

Then came season six and its frontrunner Adore Delano. A past contestant of "American Idol" (2002-2016),Adore Delano was the ultimate underdog of her season and launched her singing career after the show. Active on social media, Adore Delano currently has over 840,000 followers on Instagram, mostly consisting of teenagers.

“RuPaul’s Drag Race” never found success with the mainstream; instead, it cleverly shifted its focus to be a part of Internet culture somewhere along season six. Today, World of Wonder productions, which produces the show, owns the YouTube channel “WOWPresents.” In addition to posting bonus clips from the show, the channel produces original content with Drag Race alumni. The popularity of the “WOWPresents” network has allowed drag queens to have multiple titles in their Instagram bios. Now, alumni of the show aren’t simply drag performers but also vloggers (Alyssa Edwards, Katya, Trixie Mattel), fashion critics (Raven and Raja) and makeup artists (Miss Fame). In addition to fitting the standard Drag Race criteria (charisma, uniqueness, nerve and talent), contestants today have to have a decent online following to snatch the crown.

The integration within internet culture had a major effect on the world of drag. Now drag culture is about artists and performers in a variety of fields rather than simply “men in wigs.” Season eight frontrunner Kim Chi is an example of how loose the definition of drag has become. A makeup artist, Kim Chi is barely able to walk in heels, yet her intricate looks tell beautiful stories. With growing Internet popularity, the competition itself has become more rigorous. There’s a stark difference between the lowbrow entertainment of season three and the competitive atmosphere of All-Stars 2.

Critics can also claim that the latest seasons feel more fabricated. From Adore Delano’s departure from the show to RuPaul’s feud with PhiPhi O’Hara and the manipulated “Rolaskatox" drama that will surely affect winner Alaska Thvnderfuck’s career, the latest installment of Drag Race felt more like the Lifetime show “UnREAL” (2015–present) than a show that celebrates self-acceptance. The drag world today is much more diverse, yet old-school drag queens like Jasmine Masters argue that it is losing its authenticity as well as its inclusiveness.

It’s difficult to blame a show that ends each of its episodes with its host chanting, “If you can’t love yourself, how the hell you gonna love somebody else?” for being hostile, yet the show must acknowledge its potential effects on queer culture while producing drama. The rising Internet presence of the show has reinvented drag, yet it also put the community in a vulnerable situation.