Rupaul S Drag Race Season 17
The Glitter and the Grit: A Critical Examination of Season 17 Since its 2009 debut, has evolved from a niche reality competition into a global cultural phenomenon, blending drag artistry, LGBTQ+ advocacy, and mainstream entertainment.
By its 17th season, the show had cemented its place in television history, but not without controversy.
Season 17, airing in 2024, arrived amid heightened scrutiny of the franchise’s treatment of contestants, racial dynamics, and the commodification of queer culture.
This essay argues that while Season 17 showcased exceptional talent and progressive moments, it also exposed unresolved tensions around fairness, mental health, and the show’s corporate priorities.
Thesis Statement Season 17 exemplifies the duality of modern drag entertainment: a platform for groundbreaking artistry and queer visibility, yet a contested space where production choices, judging inconsistencies, and commercial pressures undermine its professed values of inclusivity and empowerment.
The Highs: Artistry and Representation Season 17 delivered unforgettable moments of drag excellence.
Contestants like Plasma and Nymphia Wind demonstrated technical prowess, with Plasma’s Broadway-inspired performances and Nymphia’s avant-garde fashion earning widespread acclaim.
The season also made strides in representation, featuring the first contestant with a physical disability (Mirage, who uses a prosthetic leg) and further diversifying its cast in terms of race and body type.
Scholars like Judith Butler () have long argued that drag subverts normative gender roles, and Season 17’s runway themes such as Night of 1000 Beyoncés and Corporate Punk challenged traditional aesthetics.
The show’s embrace of trans contestants, including Q, reflected a broader shift in the drag community toward inclusivity, aligning with research by sociologist Esther Newton (), who notes drag’s evolving role in LGBTQ+ activism.
The Lows: Production Manipulation and Mental Health However, Season 17 also reignited debates about producer manipulation.
Fans and critics noted questionable judging decisions, such as the abrupt elimination of Morphine Love Dion after a strong lip-sync, which many attributed to storyline engineering rather than merit.
Reality TV scholar Mark Andrejevic () argues that such tactics prioritize drama over fairness, exploiting contestants for ratings.
Mental health concerns also resurfaced.
While the show introduced werkroom wellness checks following past controversies (e.
g., Season 13’s Kandy Muse discussing panic attacks), contestants like Amanda Tori Meating revealed in post-season interviews that the pressure to perform led to severe anxiety.
Psychologist Dr.
Joe Kort () warns that reality TV’s trauma-as-entertainment model can exacerbate preexisting conditions, raising ethical questions.
Commercialization vs.
Queer Authenticity Critics argue that has increasingly prioritized profit over its countercultural roots.
Season 17’s product placements from makeup brands to streaming services were more overt than ever, mirroring media scholar Sarah Banet-Weiser’s () critique of woke capitalism.
The season’s partnership with a major cosmetics conglomerate, while financially lucrative, clashed with its anti-establishment veneer.
Conversely, defenders like journalist Michael Musto () contend that commercialization has enabled the show to fund larger prizes ($250,000 for the winner) and amplify queer voices globally.
The tension between authenticity and marketability remains unresolved.
Conclusion Season 17 was a microcosm of the franchise’s broader contradictions: a celebration of drag’s transformative power shadowed by production manipulations, mental health risks, and corporate co-optation.
While it advanced representation and artistry, the season’s flaws underscore the need for structural reforms fairer judging, stronger mental health support, and transparency about commercial influences.
As drag continues to enter the mainstream, the challenge lies in preserving its radical heart while navigating the demands of entertainment capitalism.
The legacy of Season 17, then, is not just in its glittering performances but in the urgent conversations it sparks about accountability in queer media.
References - Butler, J.
(1990).
Routledge.
- Newton, E.
(1972).
University of Chicago Press.
- Andrejevic, M.
(2004).
Rowman & Littlefield.
- Banet-Weiser, S.
(2012).
NYU Press.
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