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"Queen of the Drags": queens despite Klum-whining

2019-11-15T08:43:53.668Z


"Queen of Drags" shows people with larger-than-life fantasy identities and has the potential to send real messages. But do viewers really need Heidi Klum as a protective escort?



Sometimes, so much decency has to be, you have to say thank you to Heidi Klum. In the premiere episode of "Queen of Drags", for example, that she finally plastically demystifies a previously puzzling cultural phenomenon and helps to understand it.

If you did not have any idea how to use the latest, meanwhile quite dog-eared and greasy internetmeme properly, you just had to listen to her little mimimimosis suit in her own right, which she voiced at the first meeting with the participating drag queens, the in the next few weeks compete with ever new appearances for the title of the Oberqueen: It was in fact "totally mean" that in the run-up to the casting show there had been criticism that it was the normative-engineered Klum, in their main work "Germanys Next Top Model" Girl habitually trims with the emotional hedge trimmer in pleasing, cliched form, now to moderate a format about a subculture that whistles on precisely such die-cut roles and ossified attributions, with thickly-booted glittery lips.

She was open and tolerant of all people, so complained Klum, and while you let pass all the relevant evidence from GNTM in the mind's eye (it went pretty fast), she complained about her own discrimination, which denied her, this mission plausible to be able to moderate "Because I'm straight, I'm white and I'm a woman." And then that was the place where they knew gratefully: For such moments, this strange new meme was provided - so that the privileged Klum from the sofa a hearty "Ok, Boomer!" contrary shouted.

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"Queen of Drags": celebration of otherness

Fortunately, in the first episode of "Queen of Drags," you also learned a little bit more. Annoyingly, at first, ProSieben, like a very lazy prefabricated home builder, seems to have only one conceivable dramaturgy blank for a casting format: the squeaky entry into the Candidate Villa (which strikingly reminded one of last season's GTMN dwelling), first Beefereien around the room occupancy, even the gouvernöse inspection of the messy rooms by Heidi Klum high self - all these Topoi one knows as a grubby GNTM veteran enough.

After all, Klums co-jurors Bill Kaulitz and Conchita Wurst are new, disarmingly friendly and undisguised, it is easy to buy the two their real interest in the candidate. "Queen of Drags" has its good moments, if you let them speak exactly: when they tell of the courage that you still need to be different, from the new world, the new being that gives them their over-subscribed, bang-crazy transformation opens, it is a gentle, low-threshold crash course for all spectators, who previously had no contact with the idea of ​​drag. The introductory films, which show the Drags in their everyday life, are free of melodramatic "Titanic" soundtracks, even the "Very nice, they are just ordinary people!" - messages are bearable doses.

The drag queens need Heidi Klum's prominence to be able to slide into the TV mainstream, it was said in advance, and you probably overestimated Klum's abilities as a protective companion there even less, as it underestimates the audience. When a drag queen tells how her Muslim family dropped her because of her passion, and another of the strength that gives her this self-created, larger than life, second identity, it opens up immediately.

Heidi Klum becomes a secondary character

Luckily, "Queen of Drags" does not just talk about destiny, not just about everyday hatred, on the street, and elsewhere: just as important as these reports of discrimination are the happy stories in which families so naturally accept and celebrate their drag members as they do it should be just.

In the final performance, after a candidate has to leave the format, it shows very nicely that it is not just a matter of conviction, but also a competence issue, whether Heidi Klum and really the right cast for this format. Guest commentator Olivia Jones namely shows that Drag understanding can not simply be brushed like a flittriges Augenmakeup: She criticizes uneinölte chicken disheveled, GDR television ballet appeal and only lidschuckig weggeklemmten penis as "clitoris like Bratwurst", and it never sounds nasty only the nastiness because of, but just like the professional judgment of someone for whom everyday life is.

Heidi Klum, meanwhile, says slightly gnawed-out GNTM decision repertoire phrases like "There was nothing going on in your face", but that does not hurt the show because it actually becomes a minor character alongside the Queens. When Bambi Mercury sings the song "Who Wants to Live Forever" with a stencil beard and a plustered king costume like "Alice in Wonderland", he waves the rainbow and trans flag when he says Drag is protective armor and therapy for him and It really does not matter that the crown is "so shitty", who has the jury presidency here.

Too bad is something else: It is still a problem to be different, often within your own community, says Bambi in a single player, and indeed offers the opening sequence of "Queen of Drags" already the usual, well-known casting show-Beharkungen , petty kidding and glittering. As you watch, you feel like you're biting into a donut-filled donut.

"I'm not here to make friends," is the name of an old reality show mantra, and that's perfectly okay - with "Queen of Drags," a format that has the makings of delivering real messages, it would, by the way, be to wish.

Source: spiegel

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