The Rusical (the Musical) is back, but first, after a seven-episode drought, we (I) finally got a Mini Challenge. It brought silliness and actual story development, with the queens doing something together rather than loitering around the werkroom. Keep the minis coming, please.
The queens were tested on how well they knew each other with “Grindr, I Hardly Knew Her.” Athena was ranked as the queen most likely to hook up in drag and lie about her age on the apps. Kenya was voted most likely to be on Grindr at a funeral. “There’s a lot of rich people at funerals, girl,” she justified. Get that money, Kenya.
For the final question, the queens voted Kenya as the most likely to sashay away next. With her track record of three bottom placements and zero wins, this didn’t come as a surprise. But Kenya was still savvy enough in her social game to win the mini challenge alongside Discord Addams, and she didn’t let the other queens’ judgment get into her head. Queen of confidence, or delusion?
Category Is: Voguing Orphans
Onwards to the main challenge. Like Snatch Game, the Rusical has become a perennial challenge in Drag Race, testing the queens’ skills in singing, acting, dancing, and comedy. We’ve had regular Rusicals since Season 6, and not all of them have been good. (Remember the Trump-themed one in Season 11? Gross.) However, the challenge brings out star potential: more than half of past Rusical winners placed in the top three in their seasons.
This season’s Rusical was a mashup of the 1977 Broadway classic Annie and the legendary 1990 documentary Paris is Burning. In other words: voguing orphans.
For the uninitiated: ballroom is a Black and Latinx queer subculture rooted in urban spaces in the United States. It is both a powerful expression of community and a vehicle for queer creativity and expression. The ballroom scene of 1980s New York City was featured in Paris is Burning, introducing the world to queer slang, dance, fashion, and music. Go watch it.
Drag Race is intrinsically indebted to ballroom culture, so it felt correct to see a direct nod to it with Fannie: The Hard Knock Ball Rusical, with Bronx-based ballroom legend Carlos Basquiat joining choreographer Jamal Sims in teaching the queens how to vogue.
Give My Regards to Myki Meeks
When it came time for casting, the queens landed roles that fit their schticks well. Chronically indecisive Nini Coco butted heads with Myki over the lead part, but ultimately settled for a role that didn’t require as much singing.
It was meant to be: Myki Meeks pulled out an exceptional performance as Fannie. After demurely introducing herself as having “retired” from musical theater, she impressed Drag Race music producers Leland and Gabe Lopez (RIP) during the recording session. “I didn’t realize that we had Sutton Foster in the building,” Jane remarked. However far Myki Meeks gets in Drag Race—and her recent upswing suggests a top three trajectory—Broadway is waiting for her.
Miss Shenanigans
Jane Don’t knew exactly how to play the Rusical, claiming the part of Miss Shenanigans, a stumbling drunk with vaudeville vibes and “a low chance of having to vogue.” Her savvy vocal stylings left plenty of room for comedy on stage. During the performance, she channeled the legendary Carol Burnett while keeping it quintessentially Jane, brilliantly blending physical comedy into the choreography. (I loved her makeup callback to Lil’ Poundcake, too.)
Myki and Jane were neck and neck when it came down to the win, but Jane shone a hair brighter this week. Maybe it was her extravagant, fur-lined, Mae West-inspired look for this week’s “Beige Against the Machine” runway category, or perhaps it was because she made RuPaul laugh more when she was literally rolling around the stage. Whatever the case, Jane earned her second win of the season. I would not have been mad about a double win, though. These queens are that good.
Hard Knocks, Tough Calls
Jane and Myki were clear tops for the Rusical, but it wasn’t easy to figure out how the rest of the cast would stack up-–everyone else did a solid job. Darlene chose a safe role as Fannie’s loyal canine sidekick, Brandy. Her exquisitely-structured beige tweed suit on the runway was my favorite of the week.
Nini and Discord were paired together as Lil’ Salty and Big Peppa, an orphan duo versed in old-school hip hop (hello, Salt-N-Pepa!). Their dancing was “awfully white,” according to Kenya, but their synergy kept them safe. (I thought their dancing was cute. It reminded me of the kids from Peanuts.)
Kenya was the most excited about a voguing Rusical, and her performance as Grace Gaultier was a joy to witness. She looked, sounded, and moved like a ballroom queen, and she got *almost* all of her words, dropping some here and there during the more intense vogueing sequences. Given how many times she’s been called out for sloppy lip-syncing, I wondered if this would tank her, but she earned a well-deserved safe placement.
As Kenya’s scene partner, Juicy was not so fortunate. The kid is born to dance, yes, but her energy and presence as Cecile Cartier didn’t measure up to what the other queens were giving. During judging, RuPaul critiqued Juicy’s characterization as “lacking a point of view.” She landed in the bottom two.
Athena typecasted herself as the rich and ruthless Mama Bigbux. She played the part well, but it wasn’t consistent enough for the judges. Jamal Sims pointed out that her face betrayed her uncertainty with the ballroom choreo. Athena’s performance didn’t scream “bottom two” to me, but I knew what was coming.
The Fall of the House of Dion
Heavy are the hands that edit RuPaul’s Drag Race. It was time for the mother-daughter showdown that was promised the day Athena and Juicy walked into the werkroom. It was way more emotional than I expected.
Juicy started strong but has floundered over the last few weeks, with RuPaul consistently critiquing Juicy’s lack of a clear point of view in her performances. “At this point in the competition, we need to see you. Who are you?”
As the queens processed last week’s critiques and auntie Mia’s elimination, Juicy revealed she had struggled with drug addiction in the past, and that she was still figuring out who she is. Athena helped get her back on her feet, and Juicy’s drag family has been her biggest source of support.
When Juicy and Athena squared up to lip-sync-for-their-lives, it was a somber moment. Juicy kept the game in mind, but Athena struggled to balance her desire to win with sending home the person that means most to her.
The song chosen was “Call Me When You Break Up” by Selena Gomez, Gracie Abrams, and music producer/guest judge Benny Blanco. It wasn’t a great choice for a lip-sync battle, as it didn’t inspire a particularly energetic show from the queens. But it was memorable nonetheless.
By the end of the lip-sync, the two had locked hands and sang directly to each other. Athena sank to her knees in front of Juicy, who followed suit and finished the song curled up in Athena’s arms. “I love you,” Athena whispered as the track wrapped, and Juicy sobbed. (We also got a choice shot from behind the queens during this tender moment of RuPaul staring hungrily at her next Emmy.)
Juicy was saved, and Athena sashayed away. I was surprised given how prominent Athena has been in the edit. Who will take on all the narration we’ve been getting from her? Well, we’ve got more options than you’d think: a queen (or queens?) will be returning to the competition next week. My bet’s on Vita.
Until next time!
