These drag queens have no time for culture wars

Drag Queens Take Center Stage in a Whimsical Hollywood Parody

These drag queens have no time – In a world where political tensions often frame drag queens as symbols of cultural conflict, Adam Shankman’s latest project, the Rupaul-fronted comedy Stop! That! Train!, offers a surprisingly lighthearted escape. Released this Friday and rated R, the film is a tongue-in-cheek parody of disaster movies that stars an ensemble of drag artists, blending chaos, humor, and unapologetic camp. Shankman, known for directing hits like Hairspray (2007) and A Walk to Remember (2002), admits he never anticipated the film’s broad appeal—despite its more risqué elements, such as genital jokes about a train conductor and a puppet smoking marijuana.

“I made a kids movie, sort of,” Shankman said, “if it weren’t for the d**k jokes.” While the film’s title might suggest a focus on drag culture, its humor leans heavily on slapstick and sight gags, with minimal references to race, religion, or even the drag queens themselves. The story follows Tess (played by Ginger Minj) and DeeDee (Jujubee), two employees of the Stank Rail commuter train company who dream of traveling across the country. “See the Dakotas—both Fanning and Johnson,” Tess quips, a nod to the real Dakotas (North Dakota and South Dakota) and a playful jab at the political divide. When they lose their jobs and con their way onto the opulent Glamazonian Express, they must navigate a flurry of comedic mishaps, including a runaway train, a stormaganza, and a presidential figure played by RuPaul as Judy Gagwell.

“We’ve all seen these movies a million times,” said Ginger Minj. “But it has this undercurrent of drag that’s just sprinkled there that I think is easily accessible for a lot of people who aren’t familiar with drag.”

Despite its satirical roots, Stop! That! Train! has sparked debates about its role in contemporary cinema. The film’s accessibility to mainstream audiences—many of whom may not be familiar with drag culture—stands out in an era where media often amplifies cultural divides. Unlike recent films that have used drag as a tool to challenge societal norms, this one embraces the absurdity of its premise without lingering on political messaging. “The movie is, from a humor standpoint, as politically free as you can be, and I did that intentionally,” Shankman explained. “I made a comedy-forward movie. The fact that it is populated by these drag artists is the most transgressive part of it.”

Shankman’s approach has drawn both praise and curiosity. Filmed in just 19 days, the project features a host of celebrity cameos, including Sarah Michelle Gellar, Nicole Richie, Jesse Tyler Ferguson, and Raven-Symoné, adding to its eclectic charm. The film’s humor is rooted in classic Hollywood parody traditions, much like Airplane! (1980) and the Naked Gun series, which thrived on puns and physical comedy. In Stop! That! Train!, the focus is on exaggerated scenarios—like a train careening toward a nuclear power plant, a rescue dog shelter, and a Make-A-Wish home—without delving into the deeper implications of these moments. The biggest controversy surrounding the film, according to Shankman, has been speculation about its use of artificial intelligence for special effects, a claim he has firmly denied.

Drag in Film: A Long and Raunchy Tradition

Drag on screen is far from a new phenomenon. As Joe E. Jeffreys, a drag historian at the New York University Tisch School of the Arts, notes, drag has been a staple of cinema since its earliest days. A 1901 silent short distributed by Thomas Edison’s company, for instance, featured female impersonator Gilbert Sarony in the role of “The Old Maid Having Her Picture Taken,” showcasing the genre’s roots in performance art. However, commercially successful drag portrayals in film have often served as comedic devices, particularly when male stars crossdress to avoid societal scrutiny.

This trend can be traced back to classics like Some Like It Hot (1959), where Marilyn Monroe’s character disguises herself as a man to escape a musical career. Similarly, Tootsie (1982) and Mrs. Doubtfire (1993) used drag as a plot mechanism, allowing straight male actors to explore gender roles in a way that resonated with mainstream audiences. More recently, films such as The Adventures of Priscilla, Queen of the Desert (1994) and To Wong Foo, Thanks for Everything! Julie Newmar (1995) cast cisgender men in roles that center around gay or transgender drag queens, blending humor with a subtle critique of identity and stereotypes.

What sets Stop! That! Train! apart, Jeffreys suggests, is its unapologetic embrace of drag as a central theme rather than a supporting gimmick. The film’s characters are fully realized drag queens, and their presence is not just for laughs but as a celebration of the art form. This shift challenges the traditional narrative where drag has often been used to entertain or critique without fully showcasing its complexity. “Drag in big films is rarely used as a central element,” Jeffreys said. “It’s more common to see it as a tool for humor or subversion, but Stop! That! Train! makes it the heart of the story.”

While the film’s tone is irreverent and farcical, its success highlights a growing appetite for drag-centric entertainment that’s both inclusive and entertaining. With its blend of physical comedy, catchy tunes, and a fast-paced plot, Stop! That! Train! proves that drag queens can captivate audiences without needing to engage in culture wars. The movie’s release—sparking discussions about its accessibility and humor—marks a significant moment in Hollywood, where drag is no longer just a niche aesthetic but a mainstream force. As the train hurtles toward its apocalyptic climax, the film invites viewers to laugh along, proving that even in a chaotic world, joy and absurdity can take center stage.

Why This Parody Has Gone Viral

At a time when debates over gender identity and cultural values often dominate headlines, Stop! That! Train! offers a rare kind of refuge: a film that prioritizes entertainment over ideology. Its humor is universal, relying on exaggerated situations and physical comedy that transcends the specifics of drag culture. The characters, while undeniably flamboyant, are also relatable, with their struggles and quirks mirroring those of any ensemble comedy. This balance has allowed the film to appeal to a wide audience, from fans of drag to those who’ve never stepped into a drag show.

The film’s structure is a masterclass in parody, with its premise borrowing heavily from the disaster movie genre. The plot’s predictability—runaway trains, last-minute rescues, and a parade of over-the-top characters—creates a framework that’s easy to grasp, even for those unaccustomed to the drag community. Yet, the inclusion of drag queens as lead characters adds a layer of authenticity and flair that elevates the comedy beyond mere imitation. “It’s a Hollywood-style spoof, but with a different kind of energy,” Shankman remarked. “The drag element is there, but it’s not the main point. It’s just the vehicle for the humor.”

By avoiding cultural controversy and sticking to slapstick, the film sidesteps the political debates that have often surrounded drag representation. While some critics have questioned whether the movie is a genuine celebration of drag or a superficial cash grab, its widespread popularity suggests the latter is not the case. Audiences have embraced the film’s chaotic charm, proving that drag queens can be both outrageous and endearing. “The fact that people are laughing at the absurdity of it all is what makes it work,” said one viewer, adding that the film’s humor feels fresh and unfiltered. “It’s not about being woke; it’s about being wildly entertaining.”

With its mix of camp, comedy, and cinematic flair, Stop! That! Train! is a testament to the enduring appeal of drag in popular culture. As it rolls onto theaters, the film invites both fans and newcomers to enjoy its cheeky antics, reminding us that sometimes, the best way to transcend cultural divides is through shared laughter. In a world that often frames drag as a battleground, this movie chooses to make it a playground. And as the train hurtles toward its inevitable climax, it’s clear that the drag queens at its center are more than just characters—they’re the spark that lights the chaos, and the joy that keeps it running.