The world of drag, vibrant and often larger than life, finds a unique and compelling stage in unexpected settings. This is certainly true for "Stop! That! Train!", a new disaster-comedy that boldly places drag queens at the forefront of a narrative that is as chaotic as it is hilarious. The film, directed by Adam Shankman, leverages the charisma and talent of established figures from the "RuPaul’s Drag Race" universe, including Jujubee and Ginger Minj, to explore a satirical vision of America where railways reign supreme and disaster is a constant, albeit often absurd, companion.
A Whirlwind of Press and Glamour
The promotional tour for "Stop! That! Train!" has been a spectacle in itself, mirroring the film’s own frenetic energy. Drag queens, known for their meticulous presentation and unwavering persona, are a striking contrast against the mundane backdrop of press junkets and media interviews. Jujubee, a former contestant on "RuPaul’s Drag Race," was observed in the hallways of Bleecker Street Media’s New York office, impeccably dressed in a structured blazer and fishnets, her gaze falling upon a poster for the 2024 sci-fi romance "Love Me." Her muttered observation, "Kristen Stewart is a buoy…," revealed a mind that effortlessly weaves pop culture references into her everyday commentary, even amidst the demands of a packed press schedule. Earlier that day, she and her castmates had appeared on NBC’s "Today with Jenna & Sheinelle," a testament to the film’s broad appeal and the queens’ growing mainstream recognition.
The energy emanating from Jujubee and her co-star Ginger Minj was palpable even before they entered the room. Their laughter, described as "glamorous hyenas," preceded their arrival, and when they finally made their entrance, it was in coordinated cheetah print ensembles, their smiles radiating a warmth that instantly commanded attention. The seamless transition into their roles as interviewees, while impressive, also hinted at the demanding nature of such a promotional blitz.
When asked about the intensity of the press tour, Ginger Minj acknowledged the demanding schedule, stating, "It’s been a lot of work but it doesn’t feel like it. The tour has absolutely mimicked the making of the movie." Jujubee added to this, revealing the necessity of strategic planning: "We have to schedule our sleep. But I’m so high on life and all of us have been able to stay in the moment, and live in this stormaganza of press." Their ability to maintain such high spirits and a sense of joyful engagement amidst the whirlwind speaks volumes about their professionalism and their passion for the project.
A Satirical America on Rails
"Stop! That! Train!" constructs a unique alternate reality where the railroad system is the dominant mode of transportation. In this America, "stormaganzas"—extreme weather events—are recognized phenomena, and society appears to be populated by individuals prone to amoral behavior and acting out their basest impulses. The film’s premise, notably featuring RuPaul as the President of the United States, is not intended for subtle interpretation. Instead, director Adam Shankman crafts an infectious, full-throated comedic experience that draws heavily from the tradition of anarchic satire.
The film aligns itself with comedic masterpieces such as "The Naked Gun," "Scary Movie," and "Airplane!", where the adherence to conventional logic takes a backseat to immersive world-building and a relentless barrage of jokes. This comedic sensibility is a natural fit for the "RuPaul’s Drag Race" franchise, a reality show that frequently dedicates entire episodes to extended parodies, seamlessly blending glamour and spoof at a fundamental level.
The narrative centers on Tess (Ginger Minj) and DeeDee (Jujubee), two women who find themselves employed as stewardesses on the luxury train line, Glamazonian, after being abruptly laid off from their previous jobs at Stank Rail. The plot weaves together elements of natural disaster, presidential politics, musical numbers, paranormal activity, and even an appearance by Sarah Michelle Gellar. The screenplay, penned by Christina Friel and Connor Wright, is described as exceptionally dense, delivering an astonishing rate of gags per minute that may only be fully appreciated upon multiple viewings. While not every punchline may land perfectly, the rapid-fire dialogue ensures that audiences are rarely left waiting long for the next comedic gem. Notable comedic set pieces include legendary queen Latrice Royale undertaking a multitude of roles across America, the call-and-response humor of "give it to me straight/now give it to me gay," and the fleeting, yet memorable, appearance of Raven-Symoné as a character named "Shayna Gefilte-Manischewitz."
A Crossover Event for the Drag Race Phenomenon
Despite the immense mainstream success and critical acclaim of "RuPaul’s Drag Race," as well as the positive reception of related shows like "AJ and the Queen" and "We’re Here," "Stop! That! Train!" represents a significant crossover event for the drag community and its wider audience. The film is strategically positioned to appeal to a broader public, moving beyond the established cult following of the franchise.
Adam Shankman emphasized this inclusivity, stating, "I was very clear with [the producers] that I was making a movie for everyone, not just Drag Race fans. This movie doesn’t exist without Drag Race but you could say that about the off-shoots of characters from Saturday Night Live: they’re their own thing, and we’re our own thing." This distinction highlights the film’s ambition to stand on its own merits while acknowledging its roots.
The genesis of "Stop! That! Train!" began when producer Randy Barbato approached Shankman after a guest judging appearance on "Drag Race," presenting him with a script. Initially, the script was set aboard an airplane, a concept Shankman found problematic. "I already have a target on my back," Shankman recalled, expressing his reluctance to "remake Airplane!" His suggestion to relocate the story to a train proved pivotal, transplanting the sense of urgency and peril to a more mundane mode of transport. This shift allows for the looming threat of unexpected turbulence, falling oxygen masks, and crash landings to become ironic counterpoints to the film’s comedic tone. In the role of President Judy Gagwell, RuPaul embodies a battle-hardened veteran of the now-defunct US Army’s Rail Force Division, haunted by past failures in a series of dramatic flashbacks.
Within the lore of "RuPaul’s Drag Race," the company "Glamazonian" is often depicted as a purveyor of corporate malfeasance, rivaled only by the fictional Acme Corporation. Consequently, the role of a "rail stewardess" involves facilitating and even encouraging the questionable behavior of their affluent clientele. As the train embarks on its journey, the first-class attendants—portrayed by Brooke Lynn Hytes, Marty Lauter, and Symoné—perform a musical number that openly invites passengers to indulge in illicit activities, humorously noting their exemption from TSA scrutiny.
The Art of Performance: Drama in Drag
The cast of "Stop! That! Train!" demonstrates an exceptional ability to inhabit the film’s heightened reality. Ginger Minj and Jujubee, in particular, bring a dynamic chemistry to their roles, honed through years of theatrical collaboration. However, adapting their established rapport for the screen presented its own set of challenges.
"Adam told us, you two are not in a comedy, everybody else can be but you’re in a drama," Jujubee recounted. Ginger Minj added, "I’ll never forget it, he kept calling us ‘Lucy and Ethel’ for the first couple of days because we would do [overblown] reactions. It [was] just those theatrical instincts kicking in but we very quickly learned what level he wanted and where we could play with that." This direction underscores the film’s commitment to grounding its absurdity in character-driven performances, even amidst the comedic chaos.
This dedication to a more grounded approach also allowed for moments of brilliant improvisation. One of the film’s most memorable sequences features an extended, silent fight scene between Minj and Jujubee. Forty feet apart, they engage in invisible hair-pulling, gut-punching, and nipple-twisting. "We were so tired that we were just doing things to make each other laugh," Minj explained. "And then it clicked in our head that this could be funny." Jujubee elaborated on the scene’s development: "[The first time we did it] there was no reaction. It’s just dead silent. And then a couple seconds later, [Shankman] comes up and goes, ‘OK, that was good. Let’s do it again. Make it bigger.’ We’re like, ‘Bigger!’ We haven’t heard that at all this time!" This anecdote highlights the collaborative spirit and the willingness of the cast and crew to push the comedic boundaries.
The comfort and support provided to the drag performers were also crucial to their performances. "They took very good care of us," Symoné reflected. "They were like, ‘we want you to look great standing on camera, but we wanted to be comfortable for you, because you’re going to be in heels. Having Adam as the leader made our job a lot easier.’" Brooke Lynne Hytes echoed this sentiment, stating, "It was really great because we had a director who understood drag, so we were like, we never had to worry about any of those little things [you] usually have to worry about when you’re working with someone who’s never worked with the drag queen." This understanding from the director fostered an environment where the queens could fully embody their characters without compromising their well-being or artistic vision.
Navigating the Release and the Future of Drag in Film
Adam Shankman candidly shared his perspective on the film industry, admitting, "I make movies because of the joy of making them. There’s nothing fun about releasing a movie. I mean, just the amount of internet hostility that you have to put yourself in the crosshairs of…" This sentiment was particularly relevant given the film’s release, which coincided with a debate surrounding the use of AI in special effects. Shankman firmly denied allegations of corner-cutting, issuing a statement on Instagram to address the concerns. The intensity of this discussion reflects broader anxieties about technological displacement and the compromises that subculture-driven projects might make to achieve mainstream success.
"Stop! That! Train!" was reportedly produced on a modest budget over a span of 19 days. While the film exhibits moments of a "cheesy" aesthetic, the reviewer found no evidence of compromise or questionable practices, instead highlighting the considerable human effort invested in its creation.
Looking ahead, Shankman expressed enthusiasm for future collaborations with drag talent. "If somebody presents me with [a strong script], hell yeah, I would be happy to work with them on more serious projects because I think that the opportunity to use this pool of talent to tell more human stories is right there. It’s the orchard and we could just pick the fruit." This statement suggests a promising future for drag performers in a wider range of cinematic roles, moving beyond comedic archetypes to explore more nuanced and dramatic narratives. The success of "Stop! That! Train!" may well pave the way for a new era of drag representation in Hollywood, showcasing the depth and versatility of this vibrant art form.
