These drag queens have no time for culture wars

Drag Queens Take Center Stage in a Frenetic Hollywood Spoof

These drag queens have no time – When Adam Shankman embarked on directing a satirical take on disaster films featuring a cadre of drag queens, he likely never anticipated the resulting chaos would spark such a vibrant blend of exuberant humor and playful absurdity. His latest project, *Stop! That! Train!*, a comedy starring RuPaul and launching this weekend, has become a lightning rod for debate. Shankman humorously noted, “I made a kids movie, sort of,” before adding a cheeky qualifier: “if it weren’t for the d**k jokes.” Despite its R rating, the film is far from a children’s picture. From its raunchy humor to its liberal use of vulgar language and a subplot involving a puppet smoking weed, the movie leans into a level of irreverence that would make even the most jaded comedy fans grin. Yet, amid a cultural landscape where drag queens have often been cast as targets in political skirmishes, *Stop! That! Train!* stands out for its ability to charm mainstream viewers without sacrificing its raucous, unfiltered tone.

A Welcome Escape from Political Tropes

The film’s most notable achievement may be its deliberate avoidance of the divisive issues that have plagued drag culture in recent years. While the political climate has frequently painted drag artists as provocateurs, *Stop! That! Train!* offers a lighthearted alternative. Its humor is grounded in slapstick, puns, and visual gags—no race-based punchlines, no religion-driven jabs, and barely any nods to the LGBTQ+ community itself. As Ginger Minj, one of the film’s stars, remarked, “We’ve all seen these movies a million times. But it has this undercurrent of drag that’s just sprinkled there. I think it’s easily accessible for a lot of people who aren’t familiar with drag.” This approach ensures the film appeals to a broad audience, even as it embraces the wild, over-the-top energy that defines drag performances.

Shot in just 19 days, *Stop! That! Train!*

The Plot: A Bumpy Ride with a Drag Queen Twist

The story follows Tess and DeeDee, two employees of the Stank Rail commuter line, who aspire to explore the nation’s heartland. Tess, played by Ginger Minj, dreams of “seeing the Dakotas—both Fanning and Johnson,” a line that humorously references the states and the drag queen persona. After losing their jobs, the pair pulls off a daring scheme to board the luxurious Glamazonian Express, only to face a series of comedic mishaps. Their journey becomes a rollercoaster of misadventures, including flirtatious encounters with passengers, chaotic interactions with a group of sassy coworkers, and a hair-raising race against a tempest called the “stormaganza.” When the train’s brakes fail at the worst possible moment, it’s up to Tess, DeeDee, and RuPaul’s character—President Judy Gagwell—to pull off a last-minute rescue. The film’s premise, a runaway train metaphor for societal chaos, is executed with the kind of campy flair that has become synonymous with drag culture.

Shankman, known for helming films like *Hairspray* (2007) and *A Walk to Remember* (2002), said he crafted the movie with a focus on pure comedy. “From a humor standpoint, it’s as politically free as you can be,” he explained. “I did that intentionally.” The absence of pointed social commentary—whether about gender, race, or sexuality—allows the film to prioritize laughs over messages. However, this choice also makes the drag queens’ presence feel like the most subversive element. As Shankman put it, “The fact that it is populated by these drag artists is the most transgressive part of it.” This observation highlights how the film balances the spectacle of drag with the mainstream appeal of a classic disaster comedy.

Drag in Film: A Long and Lively Tradition

Though *Stop! That! Train!* may seem like a bold departure from traditional drag portrayals, it joins a long line of films that have used drag for humor. Drag on screen is nothing new, dating back to the earliest days of cinema. In a 1901 silent short distributed by Thomas Edison’s company, for instance, Gilbert Sarony impersonated a woman in *The Old Maid Having Her Picture Taken*, a role that foreshadowed the gender-bending antics of later classics. By the 1950s, drag had become a staple of comedy, with films like *Some Like It Hot* (1959), *Tootsie* (1982), and *Mrs. Doubtfire* (1993) relying on it as a tool to create absurdity and charm.

These films typically cast cisgender men in drag, using the trope to generate laughs through their awkwardness and exaggerated femininity. However, *Stop! That! Train!*

Controversy and Criticism: A Light Touch on Serious Matters

Despite its lighthearted approach, the film has not been without controversy. Early on, some speculated that artificial intelligence was used to generate its special effects, an accusation Shankman quickly dismissed. While this debate highlights the growing influence of tech in modern filmmaking, it also underscores how the movie’s focus on humor has kept it from getting entangled in more serious discussions about drag culture. In a time when debates over gender identity and LGBTQ+ representation often dominate headlines, *Stop! That! Train!*

Yet, the film’s ability to bypass cultural divides is a testament to its success. By embracing the ridiculous and the ridiculousness of disaster films, it creates a space where drag queens can shine without being reduced to political symbols. The movie’s tone is unapologetically silly, with plot twists that would make a classic B-movie blush. For example, the train’s final crash not only ends lives but also takes out a nuclear power plant, a dog shelter, and even the home of actress Laurie Metcalf. These exaggerated stakes are classic disaster-movie fare, but the inclusion of drag queens adds a layer of camp that elevates the experience.

Shankman’s decision to center the film on drag artists is both a risk and a reward. While some may argue that the genre’s stereotypes are still present, others see it as a necessary step to bring drag into the mainstream. “The movie is, from a humor standpoint, as politically free as you can be,” Shankman reiterated. “I did that intentionally.” This approach allows the film to function as a celebration of drag’s vibrant, unfiltered energy without being burdened by the weight of political correctness. The result is a work that feels both fresh and familiar, a parody that’s as much about the joy of performance as it is about the chaos of a runaway train.

In a world where drag queens are often forced to defend their art against critics who view it as a threat to traditional values, *Stop! That! Train!*

A Success That Defies Expectations

The film’s broad appeal is surprising, given its reliance on drag as a central element. While some may argue that drag is inherently niche, *Stop! That! Train!*

With its mix of visual gags, rapid-fire dialogue, and a soundtrack that leans into the absurd, the movie feels like a celebration of drag’s irreverent spirit. It’s a project that’s equal parts parody and passion, offering a glimpse into the world of drag queens without requiring viewers to be experts in the craft. As Ginger Minj noted, the film’s drag elements are “just sprinkled there,” making it a gateway for those unfamiliar with the subculture. This balance of spectacle and simplicity is what makes the movie stand out in a landscape where many drag-centric films have struggled to find mainstream acceptance.

Ultimately, *Stop! That! Train!*

Whether you’re a die-hard fan of drag or a first-time viewer, the film delivers on its promise of ridiculous fun. It’s a reminder that drag is more than just a performance—it’s a way of life, a genre in itself, and a powerful tool for storytelling. By focusing on the absurdity and joy of drag, Shankman and his cast have created a movie that, while not perfect, is undeniably entertaining. And in a time when cultural debates can feel so heavy, *Stop! That! Train!*