Okay. Deep breath. There have been 11 seasons of RuPaul’s Drag Race. On August 19th of this year it was announced that there will be a 12th season. Many marriages don’t last as long as this show. And do you know why? Because most people do not work as hard on their marriages as RuPaul works on this show. So, in honor of RuPaul’s work and Older Son’s and my dear friend Cynthia’s love of this show, I am going back to the beginning of RuPaul’s Drag Race. I will either rewatch or watch for the first time all 11 seasons.
I am not committing to All Stars. There are 5 seasons of that show. That’s 16 seasons. I am only one person and I do need to do other things. If I end a gibbering idiot at the end of this, so be it. Join me as I go back to the beginning of RuPaul’s Drag Race.
You gotta work.
From an excellent article by
Since “Drag Race” first aired in 2009, the conversation around identity and gender has shifted tremendously. For all the show has done to challenge its audience’s notions of masculinity and femininity, it has shied away, until the most recent season, from any serious discussion about the ways the drag community intersects the trans one. There have been trans queens on the show, but the topic is a touchy one in the drag community. For most drag artists, the point is the performance; it is not their sole identity. But for those queens who identify as trans or nonbinary, their stage persona is not necessarily a performance. The centerpiece of the show is the contestants’ transforming themselves into queens, and then, after each competition, taking off their wigs and removing synthetic breasts to reappear as men. For years, “Drag Race” prioritized entertainment over any nuances of the culture. Much of the queens’ vernacular, body language and movements come from the drag world’s — especially white queens’ — interpretation of black femininity. I’ve always been uncomfortable with that phenomenon, despite how much I enjoy the show. In his essay “ ‘Draguating’ to Normal,” the academic Josh Morrison argues that by using the bodies of women, people of color and other marginalized groups, “through an often loving, well-intentioned impersonation of them,” drag “unintentionally does them discursive violence.”