These drag queens have no time for culture wars

A Celebration of Joy and Absurdity

These drag queens have no time - When Adam Shankman decided to helm a parody of a disaster film featuring a cast of drag queens, he likely didn’t foresee the cultural impact of his creation. The resulting comedy, Stop! That! Train!, which premiered this weekend, has quickly become a standout in the realm of Hollywood’s increasingly genre-driven output. With its over-the-top humor and unapologetic camp, the film has sparked discussions about its place in mainstream entertainment, particularly in a climate where drag queens have often been portrayed as symbols of controversy rather than celebration.

Unexpected Humor in a Political Landscape

Shankman, known for directing hits like Hairspray (2007) and A Walk to Remember (2002), described the project as a “kids movie, sort of,” though he noted the inclusion of explicit humor. “If it weren’t for the d**k jokes, it would be a family-friendly adventure,” he joked. The film, rated R, leans into raunchy antics and sight gags, offering a stark contrast to the more serious tones of recent media. Despite its campy tone, the movie has managed to carve out a space in the cultural conversation, defying expectations set by political debates that have framed drag as a battleground for values.

“The movie is, from a humor standpoint, as politically free as you can be, and I did that intentionally,” Shankman said. “I made a comedy-forward movie. The fact that it is populated by these drag artists is the most transgressive part of it.”

A World of Flirtatious Frenzy

The film’s narrative follows two employees of the Stank Rail commuter service—Tess, portrayed by Ginger Minj, and DeeDee, played by Jujubee—who aspire to traverse the country aboard a more glamorous train, the Glamazonian Express. Their journey is as chaotic as the storm that threatens to derail their mission. The plot is a comedic romp through the tropes of disaster films, with the train’s breakdown coinciding with a climactic “stormaganza” that leaves little room for subtlety. As the characters navigate their misadventures, the film’s humor thrives on absurdity, with jokes involving the conductor’s anatomy, puppet drug use, and the occasional swear word.

Interestingly, the movie avoids delving into the deeper social issues often associated with drag culture. While the genre has historically been a vehicle for political commentary, Stop! That! Train! instead focuses on the physical comedy and camaraderie of its characters. “We’ve all seen these movies a million times,” Minj remarked. “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.”

Historical Context of Drag on Screen

Drag has long been a fixture of cinematic storytelling, dating back to the earliest days of film. Joe E. Jeffreys, a drag historian at New York University’s Tisch School of the Arts, noted that the art form has been a staple since the turn of the 20th century. One of the first examples, a 1901 silent short distributed by Thomas Edison’s company, featured Gilbert Sarony as a female impersonator in The Old Maid Having Her Picture Taken. This early instance laid the groundwork for drag’s enduring presence in film.

However, drag in Hollywood has often been used as a tool for humor rather than a central theme. From the 1950s onward, films like Some Like It Hot (1959), Tootsie (1982), and Mrs. Doubtfire (1993) showcased male stars in drag, typically as a means to resolve plot conflicts. Similarly, movies such as The Adventures of Priscilla, Queen of the Desert (1994) and To Wong Foo, Thanks for Everything! Julie Newmar (1995) highlighted LGBTQ+ narratives, yet they often relied on cisgender actors to embody the drag personas.

“Some films in the 1990s also found success by casting typically mostly straight, cisgender men in movies about gay or transgender drag queens,” Jeffreys explained. “But drag as a primary focus in big-budget films is rarer than you might think.”

Artificial Intelligence and the Pressure of Expectations

Even before its release, Stop! That! Train! drew attention for its unconventional approach to storytelling. One of the film’s most notable controversies arose from speculation that artificial intelligence was used to generate its special effects. Shankman swiftly dismissed these claims, emphasizing that the movie’s charm lies in its human-centric humor and the chemistry among its cast. The AI debate, while brief, underscored the film’s ability to captivate audiences beyond its core genre, blending technology with traditional comedic techniques.

A Blend of Tradition and Innovation

Shot in just 19 days, the film brought together a star-studded lineup of drag queens and celebrities, including Sarah Michelle Gellar, Nicole Richie, Jesse Tyler Ferguson, and Raven-Symoné. This collaboration highlights the growing mainstream appeal of drag artists, who are now increasingly featured in both television and film. The movie’s runtime of 92 minutes is packed with relentless absurdity, from the comedic missteps of the train crew to the dramatic stakes of the stormaganza. It’s a film that embraces its own silliness, offering a refreshing escape from the seriousness of modern cinema.

Shankman’s choice to center the story around drag queens is both bold and strategic. By doing so, he challenges the notion that drag must be a vehicle for political statements. Instead, the film focuses on the joy of performance, the camaraderie of its characters, and the sheer ridiculousness of its premise. As Ginger Minj noted, the movie’s drag elements are woven seamlessly into its plot, making it both entertaining and accessible to a broad audience.

The Power of Parody

Parody has long been a way for filmmakers to engage with popular genres while subverting their expectations. Stop! That! Train! joins a lineage of comedy films that use the disaster genre as a canvas for humor, such as Airplane! (1980) and the Naked Gun series. By exaggerating the tropes of these films—such as the inevitability of catastrophe and the over-the-top heroics of the protagonists—the movie offers a lighthearted take on the genre’s formulaic structure.

While some critics argue that the film’s humor is too simplistic, its ability to resonate with a wide audience is undeniable. In a time when drag culture is often polarizing, Stop! That! Train! serves as a reminder of its inherent entertainment value. The movie’s success may signal a shift in how drag is perceived, moving it from a symbol of controversy to a mainstream comedic staple.

A New Era for Drag in Film

The film’s release marks a significant moment in the evolution of drag representation. By starring drag queens in leading roles and avoiding the more contentious themes of culture wars, Shankman has crafted a movie that appeals to both fans of drag and general audiences. This approach not only celebrates the art form but also invites broader acceptance of its role in popular media.

With its mix of physical comedy, quirky characters, and a plot that prioritizes fun over message, Stop! That! Train! is a testament to the versatility of drag as a storytelling device. It proves that drag can be both a spectacle and a means of connecting with viewers on a universal level. As the film’s creators hope, it may pave the way for more inclusive and entertaining portrayals of drag in Hollywood’s future.

From its historical roots to its modern reinterpretation, the movie encapsulates the