Abstract
RuPaul's Drag Race (RPDR) is a reality television competition program for drag queens that has continued to expand its popularity, both in the LGBT population and in wider audiences. Drag queens and their highlighting of performativity have long been notable for scholars of gender, while RPDR itself has steadily gained scholarly attention. Much of the literature, while acknowledging the potential for subversiveness, takes issue with its reproduction of hegemonic stereotypes. I review season 7, as well as the show's relation to some of the political economic elements of the drag industry, and suggest that the “policing” of drag, identified by Sarah Tucker Jenkins, may be eroding. In essence, RPDR has shown a decisive trend toward more stylistic liberty. This includes the liberty to break previously established rules around gender norms in performance. The show's greater popularity and profitability may enable this liberty.
