The cast of Cornley Polytechnic Drama Society are back, with a disaster filled version of Peter Pan. Somewhere between the scenery collapsing, the technical hitches, backstage fallouts and some unrequited love between cast members, the troupe try to desperately to keep the show on the rails as chaos increasingly takes over, Peter Pan stops thinking happy thoughts and the crocodile becomes the star of the show.
Mischief Theatre returns following on from The Play That Goes Wrong and The Comedy About A Bank Robbery with two hours of laughter-inducing slapstick humour as the fictional cast try desperately to get through the performance. With slick precision and perfect comic timing, the cast plough through a barrage of jokes with a broad scattergun approach to the humour, as some jokes hit the mark, some miss completely and with another gag always rapidly following the last.
There were certainly plenty of smiles, chuckles and belly laughs to be had throughout the show’s duration, although the last ten minutes did descend more into silliness than comedy, but this didn’t detract from the feel-good factor the show produces. Cast member Oliver Stenton steals most of the scenes he touches; whilst Tom Babbage captures the hearts of the audience as the hapless Max.
If you have seen Mischief Theatre before, then you will know exactly what to expect and you won’t be disappointed as they continue with their trademark humour. If you’ve not, then Peter Pan Goes Wrong is a great introduction to them with an enjoyable, silly and easily entertaining show.
The seven (and a half) year itch rears its ugly head for one gay couple in the new play ‘Four Play’.
Now playing at the Above the Stag theatre until February 22, 2020 – Rafe (Ashley Byam) and Pete (Keeran Blessie) have been together for most of their adult lives, and unfortunately have not had much experience with anyone else. Yet they feel like their sexual relationship is starting to become mundane, lacking a bit of spark. So they enlist their frIend Michael (Declan Spaine) to spice things up. They then agree a deal among them: Michael will have sex with them separately, while Michael is not allowed to tell his boyfriend Andrew (Marc Mackinnon). But Michael does tell Andrew, and while he and Michael did have an open relationship, Andrew wonders out loud why the couple chose Michael over him.
Meanwhile, Rafe and Pete are enjoying the friends with benefits with Michael, but is temporary gratification going to save their dulling relationship? And what will become of Michael and Andrew’s relationship now that Andrew knows what is going on behind his back?
Through sharp dialogue (Jake Brunger), good acting and good directing (Matthew Iliffe), and with an excellent set (a kitchen complete with a Madonna magnet on the refrigerator), Four Play is game, set, love and match.
There’s a sex crime taking place in Soho – it’s ‘Sex/Crime’ the dark comic queer thriller.
Now playing until Feb. 1st, 2020 at the Soho Theatre, ‘Sex/Crime’ had its birth at the Glory bar in Dalston – a venue where shows such as this one are produced. Sex/Crime is a play that explores sex, violence, role-play, fear, drugs, but unfortunately not nudity, as both leads are sexy as hell.
It’s not one to take too seriously, though the dialogue might suggest you do. Jonny Woo and writer Alexis Gregory take us on a ride where man A (Gregory) and man B (Woo) recreate a killing of a famous gay serial killer – for pleasure – and a price, but at what price. Both actors work their damn hardest to entertain, and scare us, as they decide the boundaries of their game – a game that goes a bit too far, all packed into a generous one hour show.
Playing at the Soho Theatre (in the upstairs theatre) gives the show a bit of legitimacy, but it’s still low-brow theatre mostly meant for a small stage of a gay bar. But you can’t knock the energy and sexual chemistry of Gregory and especially sexy daddy Woo – they both alone are the price of admission.
So there we are then: the end and damn it Rupaul, you almost made me cry!
What a journey and how happy I am that I kept watching after a rough start, even though I am now sad about having to let go of my new drag family.
Ruby and AJ have reached their destination: the Dallas pageant and it seems AJ is even more invested in Ruby winning than Ruby is. AJ is worried about how Ruby will fare without her once she leaves for her grandfather and wants her well taken care of.
Meanwhile in New York Cocoa is visited by AJ’s mother again, this time she is ready to listen. Finding out where AJ is and where she is going she seems horrified. Stealing some money from Cocoa she quickly leaves to find her.
AJ and Ruby find themselves in trouble: all the other queens seems to have brought busloads of fans with them to help their chances at winning. Ruby and AJ only have each other. AJ decides on a plan.
Finding her police officer lover has let her down Cocoa travels to Dallas to join her friends. Ruby needs all the support as a call from Sanchez has sent her wavering.
A lot of things happen: Sanchez realises he might have feelings for AJ, Lady Danger has escaped prison and has gone after him – he has all her money. The other queens, including the two divas destined for number one, played by Trinity the Tuck and Jujubee have noticed AJ trying to get their fans on Ruby’s side and they are not happy.
Meanwhile, anti gay/drag protesters have descended onto the pageant.
The pageant rehearsal is a joyous line up of former Racers and seeing Rupaul stand alongside them is so moving. You can see that despite being their former judge she is one of them too, she came from this world and this is her love letter to them, to drag.
Meanwhile, Lady Danger seems rather jealous of the fact Sanchez choosing Ruby and searching for her stolen money she decides to trash her wigs. Finding out Ruby thinks the protesters did it, then the other queens. The speech Ruby gives the protesters is gorgeous but the way the other queens (the bitchy rivals) rally round to get Ruby wig hair so she can still compete is heartwarming.
Sadly Ruby doesn’t get to compete as AJ’s scam and story has sent the police and child agencies to the pageant. Meanwhile, Ruby, in utterly gorgeous drag, is visited by Sanchez – he brings her the money and his heart, or so he claims. AJ drags Ruby out, with money and all – of to grandfather before it’s too late.
While they flee Cocoa decides that even if Ruby can’t compete there is no reason to leave her place vacant. So for the first time ever Cocoa performs again, and she is everything!!
Ruby and AJ have reached grandfather. Fearing he might be conservative AJ asks if Ruby can drag her up, to fit in. Then they say their sad goodbyes. Ruby’s face as AJ explains why Ruby can’t come with her to meet her grandfather is sad.
But things get worse: waiting in her van to make sure AJ gets home to Pop-pop safe and sound she makes a shocking discovery. She has to find her.
Then, in such a beautifully acted and filmed emotional moment Ruby thinks AJ is finally hers. The daughter, friend and companion she always wanted. But then …
No, you will have to watch it yourself to find out, please do. It is a journey that will warm your heart.
★★★ | The Sunset Limited, Boulevard Theatre, London
A middle-aged white male attempts to get on The Sunset Limited but is stopped by a middle-aged black man.
What is The Sunset Limited? It’s the name of a new play that has just opened at Soho’s fantastic Boulevard Theatre, and it’s also a euphemism for committing suicide.
The white man (English Actor Jasper Britton), is on his daily commute (as described by the actors) when, instead of wanting to go to work, he intentionally wants to jump in front of a subway train pulling into a strangely empty NYC subway station. But he is saved by the black man (an excellent Gary Beadle) who in turn takes him to his run-down apartment to discuss his motive for wanting to commit suicide.”
So the play (written by Cormac McCarthy in 2006) takes place in the black man’s apartment (the two leads are not assigned proper names). So for the next 95 minutes we get to learn a lot about both men. The white man is a professor, an atheist, really hates his father and mother, and has very bad thoughts about all of his fellow commuters – everyday he has had these bad thoughts – and has had them for the past 20 years. The black man is an ex-con who served time for a crime we are not told, he is very religious, and is now the guardian angel to the white man, trying, very determined, to understand why he wanted to end his life. The play also tries to explore the meaning of life and especially the lives of people who have to endure a commute back and forth to work every day. But it also raises questions on the question – are we living the lives we want to lead? And when the show is over, and the black man finally lets the white man leave, what happens next, not just to him but also to the rest of us – back to our daily grind tomorrow, one that we might find depressing, depressing enough to take the Sunset Limited?
Perhaps the white man is everyman – one who is sick and tired of his commute, of the people around him, of his life and of his relationships – just plain miserable as hell.
Writer McCarthy wrote the brilliant ‘The Road’ (which went on to win a Pulitzer Prize, and which was turned into the classic 2009 film), which had themes of suicide and doom, was a brilliant piece of work. The Sunset Limited, apart from very good acting (Beadle is superb) and very good direction (Terry Johnson), is just a bit too thin to really care about the characters (white man is still a mystery to me) and what happens to them next.
The Sunset Limited is now playing at Soho’s Boulevard Theatre until February 29th.
Queens Everywhere!! The Queens of Rupaul’s Drag Race 12 have been Ruvealed!!
Oh Girl!! It’s happening!! Drag Race 12 is almost here, and after that reveal I can’t wait till February 28.
Introduced by last year’s winner Ivy Oddly thirteen fresh new queens paraded the runway all looking fierce.
Going by their introduction videos we’re in for a treat. There is a queen for everyone: Comedy, glamour, horror, sci-fi, fashion, gender f and anime, it’s all there.
Their backgrounds are as fabulous as their looks. We have our first Armenian queen, a queen that immigrated just to join the show, a queen that did America’s Got Talent, a queen that is championed by Adele and various queens that have some well-known drag mama’s.
Meanwhile, mama Ru herself is looking fierce in her trailer. She is looking passionate and ready for business.
It looks like Drag Race UK and AJ and the Queen have given her a new groove.
Check out the Ruveal, the trailer and the queens below.
Finding themselves at a playground, Ruby teaches AJ how to swing (she had never played before). Sadly AJ asked for a push too much and flies of, breaking her arm.
Overcome with fear and seeing something wrong with her arm Ruby takes AJ to the hospital. AJ, though, doesn’t want to go, she is terrified. Soon we find out why: a hospital is where she was separated from her mum. We find out AJ would rather be in pain than lose Ruby as she knows that difficult questions might be asked the moment the doctors and nurses separate them.
She is right, soon people start to ask questions: what reason could a black gay man possibly have to travel with a white child? The fact that no-one even thinks of the possibilities: adoption, teacher, nanny, baby sitter is shocking.
Stumped for an answer Ruby blurts out she is her pageant coach.
This is both a tragic and hilarious episode all in one, as at first, the hospital staff all want something from Ruby. A cute young doctor wants drag advice, a nurse wants pageant advice for her grand doctor and – more offensive – a desk nurse wants to know if she could judge her daughter’s black boyfriend. The young doctor is the kindest one and helps out when Ruby has to take desperate measures to get AJ back.
We flashback a lot between four key hospital moments: the present, AJ’s birth as well as the moment she got taken away from her mum, while the relationship between Ruby and best friend and drag sister Cocoa is further explored as we flashback to the incident that caused Cocoa’s disability. This gave Rupaul the chance to display one of her most fabulous looks of the series. To see her run through the corridors in that red dress is a visual delight. The scene of her talking with Cocoa in the hospital bed is beautiful. They have great chemistry.
Back to the present where Ruby pretends to be a Jamaican intern. For some reason, RuPaul can really get away with this look and actually knows how to do the accent, which sells it. This end scene makes the episode end on a high.
During the hospital visit, we got to see how much Ruby cares about AJ and how much AJ has started to care about Ruby. In the next episode, we zoom in deeper on this.
When they reach Texas and the club Ruby was supposed to perform in is bulldozed down AJ asked if Ruby can maybe bring her to her grandfather immediately. Ruby immediately thinks of things they could go and do before that and quickly settles on visiting an old very rich friend (instead of, you know, the war museum.)
There a lot of things happen, an important one is that Jane Krakowski plays Beth her old friend fabulously. Meanwhile: Ruby has to explore her own fears, Beth’s marriage and life isn’t as fabulous as she claims (though she is rich) and AJ befriends the couple’s reclusive son.
The next day Ruby is roped in to be the entertainment of the party Beth is planning. The entertainment manager is non-other than Ginger Minj who proves herself to be another fabulous actor. These queens are so damn talented!!
AJ haggles Beth’s husband to pay Ruby $4000. Then the poor girl collapses. It turns out that the innocent health juice she thought she drank was Beth’s special juice – 90% vodka.
Ruby carries AJ in and looks after her. Spaced out the girl tells her “I love you” and Ruby breaks down.
She is further upset when Cocoa calls her to say that the mother has visited her and she is sending the police after her.
Ruby admits: she doesn’t want to give up AJ anymore. She has grown to love her as a daughter.
The rest of the episode explores Ruby’s own identity. It turns out she was always afraid of her feminine side and instead of admitting it thought it was Beth who stopped her playing with dolls and with her female friends. It was her own fear holding her back.
A positive trans message is included as well.
AJ tries to break away with the couple’s son, crashing the van. She explains she tried to leave without saying goodbye because she fears she will never be able to say goodbye to Ruby.
Both agree they want to travel together a little longer.
GALECA: The Society of LGBTQ Entertainment Critics, comprised of 260 mainly U.S. journalists covering film and television, has named its final-round choics for 2019’s finest movies, performances and more across a host of mainstream and LGBTQ-focused categories.
South Korean director Bong Joon-ho’s Parasite gobbled up five wins, including Film of the Year, Director and Screenplay. Renée Zellweger took Performance of the Year—Actress for Judy), with Antonio Banderas the top choice in the Actor race. The Society’s Rising Star of the year: Florence Pugh (Little Women).
“GALECA members strive to determine the best cinematic experiences through the distinct LGBTQ lens, and this year was particularly rich in options,” said GALECA President Diane Anderson-Minshall, Editorial Director of The Advocate. “Yet when director Bong Joon-ho’s Parasite practically swept our awards roster with five wins, I was not surprised. The dynamic, darkly comic drama about a poor family conniving to live the good lifespeaks to the times we live in, with vivid commentary on class, inequity and even climate change. Parasite is a perfect film for the Trump era.”
Among the professional LGBTQ journalists group’s trademark categories, Booksmart scored as Unsung Film of the Year, while Cats took the group’s semi-dubious, if affectionate, Campy Flick of the Year category.
With the Society’s recent move to spin off its television categories with a separate ceremony starting this August, the Dorians’ TV categories came with a somewhat truncated eligibility window of January 1 through November 1.
FX’s Pose again won TV Drama of the Year and LGBTQ TV Drama for the second year—and its star Billy Porter took another Dorian win as well—while Comedy Central’s The Other Two was named best Unsung TV Show. Amazon’s Fleabag was anointed TV Comedy of the Year, with star-creator Phoebe Waller-Bridge reigning as TV Performance of the Year—Actress and Wilde Wit of the Year.
Lady Gaga wowed GALECA’s members in a special vote as Wilde Artist of the Decade. Gaga’s duet with Bradley Cooper on “Shallow” at last year’s Oscars also counted with the group as the TV Musical Performance of the Year.
As previously announced, Olivia Wilde, the first-time director of Booksmart, will be receiving a special honor at the group’s Dorian Awards Winners Toast, which will be held brunchtime Sunday, February 2, in Los Angeles, before football fever kicks in. The invitation-only event will include a raise of the glass to Wilde, named GALECA’s Wilde Artist of the Year.
GALECA, formed in 2009, aims to generate camaraderie and solidarity in an unsettling media environment, champion constructive film and television criticism and elevate the craft of entertainment journalism. Via panels, screenings and our annual Dorian Awards, GALECA also strives to remind at-risk youth, bullies and bigots that the world looks to the Q eye for leads on great, unique movies and TV. And how would the world fare without knowing what’s campy?
GALECA is a proud core member of CGEM: Critics Groups for Equality in Media.
FULL LIST OF 11TH DORIAN AWARD WINNERS (noted in bold and with an asterisk)
Film of the Year
Hustlers Little Women Once Upon a Time in … Hollywood Pain and Glory *Parasite Portrait of a Lady on Fire
Director of the Year
Pedro Almodovar, Pain and Glory Greta Gerwig, Little Women *Bong Joon-ho, Parasite Sam Mendes, 1917 Celine Sciamma, Portrait of a Lady on Fire
Film Performance of the Year — Actress
Awkwafina, The Farewell Scarlett Johansson, Marriage Story Lupita Nyong’o, Us Alfre Woodard, Clemency *Renée Zellweger, Judy
Film Performance of the Year — Actor
*Antonio Banderas, Pain and Glory Adam Driver, Marriage Story Adam Sandler, Uncut Gems Joaquin Phoenix, Joker Taron Egerton, Rocketman
Film Performance of the Year — Supporting Actress
Laura Dern, Marriage Story Florence Pugh, Little Women *Jennifer Lopez, Hustlers Margot Robbie, Bombshell Zhao Shuzhen, The Farewell
Film Performance of the Year — Supporting Actor
Tom Hanks, A Beautiful Day in the Neighborhood Al Pacino, The Irishman Joe Pesci, The Irishman Brad Pitt, Once Upon a Time in … Hollywood *Song Kang-ho, Parasite
LGBTQ Film of the Year
Booksmart End of the Century Pain and Glory *Portrait of a Lady on Fire Rocketman
Foreign Language Film of the Year
The Atlantics Pain and Glory *Parasite Portrait of a Lady on Fire The Farewell
Screenplay of the Year
Noah Baumbach, Marriage Story *Bong Joon-ho, Han Jin-won, Parasite Greta Gerwig, Little Women Céline Sciamma, Portrait of a Lady on Fire Rian Johnson, Knives Out
Documentary of the Year
American Factory Apollo 11 For Sama *Honeyland One Child Nation
LGBTQ Documentary of the Year
Circus of Books Gay Chorus Deep South The Gospel of Eureka 5B *Scream, Queen! My Nightmare on Elm Street
Visually Striking Film of the Year ** TIE
Midsommar 1917 The Lighthouse Parasite Portrait of a Lady on Fire
Unsung Film of the Year
*Booksmart Her Smell Gloria Bell The Last Black Man in San Francisco Waves
Campy Flick of the Year
*Cats Greta Knives Out Ma Serenity
TV Drama of the Year
Chernobyl Euphoria *Pose Succession Unbelievable
TV Comedy of the Year
*Fleabag The Other Two PEN15 Russian Doll Schitt’s Creek
TV Performance of the Year — Actor
Bill Hader, Barry Dan Levy, Schitt’s Creek Jharrel Jerome, When They See Us *Billy Porter, Pose Jeremy Strong, Succession
Euphoria The Other Two *Pose Schitt’s Creek Tales of the City
Unsung TV Show of the Year
Gentleman Jack On Becoming a God in Central Florida *The Other Two PEN15 Years and Years
TV Current Affairs Show of the Year
Full Frontal with Samantha Bee The Rachel Maddow Show Last Week Tonight with John Oliver The Late Show with Stephen Colbert *Leaving Neverland
TV Musical Performance of the Year
*Bradley Cooper, Lady Gaga, “Shallow,” The 91st Academy Awards Lizzo, “Truth Hurts,” VMAs 2019 Megan Mullally, “The Man That Got Way,” Will & Grace Annie Murphy, “A Little Bit Alexis,” Schitt’s Creek Michelle Williams, “Who’s Got the Pain?,” Fosse/Verdon
Campy TV Show of the Year
American Horror Story 1984 Big Little Lies RuPaul’s Drag Race *The Politician Riverdale
The “We’re Wilde About You!” Rising Star Award
Roman Griffin Davis Kaitlyn Dever Beanie Feldstein *Florence Pugh Hunter Schafer
Wilde Wit of the Year (Honoring a performer, writer or commentator whose observations both challenge and amuse)
Dan Levy Billy Porter Randy Rainbow Taika Waititi *Phoebe Waller-Bridge
Wilde Artist of the Decade (Special Accolade)
*Lady Gaga Greta Gerwig Ryan Murphy Billy Porter Phoebe Waller-Bridge
The metaphor in episode six might have been about AJ, but in many ways, it could have been about this series. Sometimes things start rough, but if you wait long enough there is a diamond at the core.
Anyone that gave up on this show in the first two episodes, please continue, it gets so, so good!!
At this moment I feel like I have been on a journey with these characters, and after all this time I’ve grown to love them.
Here the team lands in a trailer-park to take a much-needed break. Sadly they don’t get much rest as very soon Ruby gets roped in by three excited women who are desperate for her to produce their show, while AJ befriends a shy boy and becomes obsessed with finding a diamond.
Also, Sanchez and Lady Danger are still on the trail and soon two lovely gay Cowboys have to save Ruby from a snake attack.
This episode in contradiction to episode two gets finding your identity and being yourself so right.
There is Ruby who wants to be herself and loved, but she doesn’t know how to connect anymore.
She thinks she is helping the women by trying to create the best show ever, but they don’t want that.
Ruby trying to rehearse the unwilling Pink Ladies in their Grease performance made me remember all those times when I was in that position. Why do people always want to perform but never rehearse? Why is trying to create something good so wrong in some peoples eyes?
Seeing her talk to her best friend about thinking that maybe she was too much for people to be around made me wish I’d had someone like her in my childhood, a person that actually wanted to put the work in, get the show done. She wouldn’t have been too much for me.
Then AJ was thinking she was worthless and only a diamond would make her grandfather keep her. More layers of her anger are peeled away.
Then her young friend: his silence hid a desire to be on stage in drag, maybe he could even be transgender. Sadly his conservative gun-toting father would not allow him to wear his dress. The scene where Ruby confronts the father in full pleather Sandy drag was wonderful, but the finish where the son confronts the father himself was a delight!! Yes, being attracted to feminine things doesn’t mean you can’t be strong!!
The cute ending with Ruby and AJ performing “You’re The One That I Want” is adorable.
Episode 7 was a mixed bunch for me. Plus side Latrice Royale and Monique’s heart. Fabulous. RuPaul’s chemistry with Latrice is amazing, Their real-life friendship is clear for all to see.
As seen in Drag Race Latrice is clearly a gifted actor and it would be wonderful to see more of her in the future.
Meanwhile Ruby flirting and getting it on with a hot guy was great, glad to see her being playful for a change.
Not great: The puppy story. The metaphor was a bit too obvious and the puppy seemed upset in various scenes. At least get an older dog for episodes like these.
Also: sometimes both children and dogs are better of in a new home even though they might be homesick even if the unfit parents love them.
The barbeque wasn’t needed either, as the scene didn’t really work or went anywhere we didn’t already know. Most Ru fans know she doesn’t like seeing people eat or eating in public and her discomfort was clear.
Sanchez giving in to Lady Danger’s emotional and sexual blackmail, why? I mean … yuck.
Which brings me to another plus side: Latrice and her drag gang getting that bi*ch good. Come through Miss Royale!!
This is what I was looking for: warmth, joy, LGBT history, gay icons from history, gentle life lessons and camp and all this in Gilmore Girls Town. Girl, I was living for this episode.
Following a performance gone bad, Ruby feels low, something that is worsened when finding out AJ is unaware of some of the most iconic performers in history. Diana Ross the main one.
The scene where Ruby tries to explain what a Diana show was like is slightly confusing, as it makes you wonder why she doesn’t show AJ pictures and clips as she has internet. But Ru’s personal passion for Diana makes it work.
Ruby decides to educate on camp and glamour, starting with AJ needing a more sparkly outfit, the girl isn’t convinced about this, though and refuses.
AJ wonders why Ruby is so hung up on all these female performers and why she has no male icons she looks up to. Ruby has one: Bob Mackie and this time she does go online to try and make AJ aware of the famous designer. A good thing she did, as she finds out that there is a museum dedicated to the man close by. Well, six hours away.
This is when we reach the best location yet: Mt Juliet, or as we know it: Stars Hollow – yes the whole episode takes place in Gilmore Girls town!!
There is almost disappointment for Ruby as the museum turns out to be a house, a bed and Breakfast none the less. But things change when she meets the owner Lloyd Johnson who is as passionate about Mackie as she is and realises that the “house” contains all his most famous dresses.
AJ decides to treat Ruby on a night at the museum, then leaves to have some fun of her own.
As Ruby and Lloyd bond over camp and glamour, AJ soon realises she should have kept her money when she finds the puppy she always dreamed of. She quickly hatches a scam with a girl selling lemonade on the square to get the money.
Here we reach the emotional heart of the episode. Ruby receives a call from Cocoa Butter who by now is VERY happy with the officer of her dreams, telling her they found out just who AJ’s mother is. It is worse than we or Ruby could ever have thought.
AJ’s scam backfires when the girl she bought the stall from turns out to have a mother that is rather controlling and cold, wanting the money AJ earned back. Ruby protects her, saying things that are meant for the mother to hear but upset AJ. They fall out.
If anyone claimed thatRupaul was getting “tired of drag” they should be forced to watch the “Endless Love” scene on a loop until the end of time.
If anyone claimed that Rupaul was getting “tired of drag” they should be forced to watch the “Endless Love” scene on a loop until the end of time. The sheer joy and delight on Ru’s face when she comes down the stairs in that Diana Ross outfit and the perfection with which she mimics Diana’s expressions when she lipsyncs the song: she has waited for this moment all her life!
Meanwhile, Sanchez and Lady danger are still out there, waiting. Though Sanchez isn’t sure he even wants to do all this anymore. He seems regretful and just can’t scam anymore.
This episode makes you long for this being the place where Ruby and AJ settle down: Ruby should marry Lloyd and live her glitter dream forever and AJ should befriend that girl and help her rebel and find herself. But of course, they have to move on, after AJ learns actually having a mum that is “there” isn’t what it is cracked up to be either.
Ah, what a treat!! These two episodes were much better. Ruby is slowly letting go of her victim-hood and is starting to present the glorious diva she is, while AJ has stopped her shouting and is growing as a personality.
As a Ru fan, I was feeling so bad about disliking the show he has worked so hard on for so long, so it is such a relief to say that episode three really picks up. The storyline is less scattered, the acting gets better and the pacing has improved.
It is good to see Ruby regaining some of her confidence and more importantly wit. Of course, she is still grieving for what she thought was true love, but she doesn’t let people take advantage of her anymore or sit quietly when others insult her.
In these two episodes, she brazenly takes part in a wet T-shirt competition in a southern town to earn money and gives mean queens back as good as she gets. She even defies them when they sabotage her act. Yes, Miss Ruby Red is rising.
Meanwhile, AJ has improved a lot: thankfully the caring side we glimpsed near the end of episode two has lasted and she is now taking care of Ruby as much as she is taking care of her. She has become fiercely protective of her. Most importantly: she has stopped shouting all her lines, which makes all the difference.
Still on their way to Texas episode 3 sees them stuck in a small town as they the route across the Hershey Highway. The reason why they ended up there: trying to drive away quickly before Sanchez and Lady Danger spotted them they ran into a car leaving them with a broken backlight (and AJ with 200 dollars little con-artist she is!) An exasperated policeman (in a hilarious scene) orders them to get it fixed.
Sadly the repair will cost $2000, as the man at the repair shop discovers that the van is more damaged than they thought.
In the shop Ruby and AJ build a connection with the owner’s wife, after a rough start, which will become important later in the episode.
Ruby tries to teach AJ that there is good in everyone and tries to get her to make up with her mom in between a big to-do about breastplates.
The mum isn’t a well fleshed out character right now, still isn’t in episode four. I hope we get to know what happened to her, because right now she is a bit of a cliché.
Meanwhile, episode four is glorious with both Chad Michaels and Kennedy Davenport in big parts. Here we get to know so much about Ruby and Sanchez and a slight hint that Sanchez might have cared … or is he trying to swindle Ruby all over again?
This episode has catfights between queens, more gay cop revelations, Rupaul doing a big performance to Sia’s Chandelier and Chad being Cher.
This episode also shows how much Ruby and AJ are a team now, even though AJ thinking she knows what’s best for Ruby is a little too soon.
