![]() They can just turn on the television and they can get to see entertainers do all these different things. And I think that a lot of it has to do with the fact that they can watch Drag Race. People are using this heightened version of whatever that is to create and to celebrate and to elevate. That’s why I say don’t say “drag queen” because I feel like that term has evolved and people are becoming drag artists. We get the opportunity now to bring up many different interpretations of drag. It’s an art form now with a lot of possibilities.īEBE ZAHARA BENET: There is this fusion now between pop culture and drag where a lot of pop culture is taking a lot from the drag art form and the drag art form is taking stuff from pop culture. You can get in drag and go try and make money at being a model, you can be someone who is a host at a party, or run the bingo or something else. But you don’t have to get in drag and be onstage. So everyone wants to do drag and then there’s queens who think, because they’re in drag, they have to get onstage but it’s boring because they have no stage presence. And there are people now who understand it’s not this creepy weird thing that guys do for sexual pleasure. It’s not just RuPaul’s Drag Race, but fans of drag. RAVEN: Drag now has so many different fan groups in social media. It has influenced beauty and makeup, it has influenced the way we use social media because the queens are so savvy. ![]() Now there are plenty of queer people who don’t watch RuPaul’s Drag Race, and specifically maybe in the lesbian category, because my sister and her wife, girl, please. The only reason to go to bars, at least when I was out, on Monday nights was because of RuPaul’s Drag Race. LAGANJA ESTRANJA: Drag is the culture, honey! We are the culture, honey. People are taking drag more seriously, and they see the art behind all the hard work. RuPaul’s Drag Race wet all of us and we all reproduced. That’s what happened with queens after RuPaul’s Drag Race, honey. Do you remember the movie The Gremlins? They were wet and reproduced. NINA FLOWERS: Everybody wants to be a drag queen these days, everybody. Instead, we had to hide around The Sound of Music in the theater department. When I was a kid, if me and all the other gays at school had Drag Race to fawn over, we would have found each other. I think that the overt queerness, the overt fem-ness and faggy-ness that RuPaul’s Drag Race uplifts has really allowed a lot of people to be so much more themselves. But 14 years and a global empire later, the tea had been served.īOB THE DRAG QUEEN: Let’s face it, there’s a whole lot of fucking drag queens. ![]() The fact is that we have this show that is going to turn TV upside down.” At the time, it just seemed like typical hyperbolic claims from an enthusiastic TV producer and star. Whether it came up at a toilet stall at Illusions on Santa Monica Boulevard, I mean, really, it doesn’t matter. When asked about the reality competition’s inspiration, RuPaul let loose: “The universe called and we answered that call! This was a show that had to be made. The newspaper did not respond to requests for comment.A month before the first season of R u P aul ’ s D Rag R ace premiered on then five-year-old gay niche cable network Logo, RuPaul and three of the first season’s contestants appeared at a press junket in Los Angeles to promote the new show. The West newspaper put the result on its front page but had an awkward gap between its live blog being removed from the top of its website and stories replacing it on Thursday afternoon. ![]() Seven West Media group, which employed Roberts-Smith throughout the trial and is controlled by Kerry Stokes, Roberts-Smith’s financial backer, took a more muted approach. Peta Credlin, the commentator and former chief of staff to prime minister Tony Abbott, declared she “won’t join the pile-on against Roberts-Smith” in a feat of whataboutism. James Campbell, the national weekend political editor for the tabloids, argued that defending Roberts-Smith “insults all Diggers”. Its coverage led with the fact of Roberts-Smith’s defamation loss, with commentators diverging on how to interpret it. News Corp, which has previously published soft-focus stories on Roberts-Smith, gave the defamation case front-page treatment around the country. The Guardian devoted a whole podcast series to the trial and the Australian Broadcasting Corporation, which has done its own investigative reporting on the SAS in Afghanistan, gave it prominent placement online, on TV and on radio. Nine News and The Australian Financial Review, which are now owned by the same company that had also invested millions in fighting Roberts-Smith’s defamation action, did the same. The Sydney Morning Herald and The Age, which published the original reporting on Roberts-Smith along with their then-stablemate The Canberra Times, went big on the decision. ![]()
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