Drag Race Down Under used to be the punchline of the franchise. Here's how season four changed that

It's not often that a TV show performs better after losing its biggest star, but that’s exactly what has happened with RuPaul’s Drag Race Down Under. Separating RuPaul from the program has resulted in its best season yet.

RuPaul stepped back from hosting duties for the fourth season to promote his memoir, a move that could have been a death knell for the struggling local franchise. It’s often ranked by fans (and on IMDB) as one of the worst of the 20-plus international versions – Australian queens Kween Kong and Hannah Conda competed on the global edition this year just to prove the strength of our scene.

But season four (which concludes on Friday) has embraced the name change (from RuPaul’s Drag Race Down Under), pushed RuPaul’s right-hand woman Michelle Visage into the centre, and in the process, reinvigorated the series. It’s a showcase for Australia’s particular brand of queer irreverence: where else would you hear a lip-sync to “Young Divas”? Or a girl group inspired by Olivia Newton-John? Impersonations of Gina Riley and Jane Turner? A deep dive into the tensions between Oxford Street and the ballroom community? And a lewk that elevates a floral dress by Leigh Bowery to something even more outlandish?

Not only have viewers left rave reviews on social media, but according to season one finalist Art Simone, the Australian and New Zealand drag communities have given it a second chance. “The word on the street is that now that we’ve seen this season, and know it’s different, there’s more girls keen to audition,” she says. “After season three, they’d be like, ‘Eh, what’s the point?’”

While Australian versions of Survivor, Masterchef, Alone and Married at First Sight have found huge success overseas, Drag Race Down Under has struggled to make its mark. The acceptance of reality TV might seem inconsequential, but the cultural ubiquity of Drag Race means the Down Under edition influences how the world views Australian drag. “It [also] needs to be seen by other queer people to see people like them being celebrated and validated,” says Art. “There’s nothing more inspiring and beautiful than ‘Oh, that person is like me.’”

After almost a decade in development, Down Under debuted in 2021 as a co-production between Stan, the US Drag Race production company World of Wonder, and TVNZ, with the series filmed in Auckland and New Zealand queens competing alongside Australians. It was the seventh iteration of the show and the third hosted by RuPaul, with Visage (a judge on the US version since 2011) and Australian comedian Rhys Nicholson serving as judges.

COVID restrictions and a last-minute move to filming in Auckland undoubtedly didn’t help, but a relatively low budget, confusing production choices, and significant issues with representation and race meant we weren’t putting our best foot forward. Subsequent seasons have done a better job of representing the diverse drag communities of Australia and New Zealand than the all-white top eight (out of 10 contestants) of season one. Still, it’s been an uphill battle.

While the budget issues remain, a bigger problem was the series struggling to tailor itself to the unique blend of camp, glamour and vulgar humour that is Australian drag. In the weirdest episodes, challenges were either ripped straight from the US show, or pulled from bizarre reference points, such as choreographing a dance to a BMX Bandits theme. If queens made jokes about the Wiggles, they were likely met with a blank RuPaul stare. In short, it wasn’t letting its talented cast shine. “There was a disconnect between the Australian drag scene and the judging panel,” says Art. “Something was getting lost in translation.”

After filming wrapped in March, new host Visage told ABC Entertainment that season four was focused on “what makes Australian drag special”. “It’s more about the heart,” she said. “It’s more about the integrity and the performance, and not anything else. And it’s with a wink and a nod. They always know the joke.” Visage said she was simply there to facilitate, “to help great people shine”. “I can’t even tell you how incredible this season is. You will be floored by their talent.”

The season four cast is made up of talented and diverse queens, with an emphasis on established names. The 10 contestants include local legends (Oxford Street stalwart Vybe; seamstress Mandy Moobs), fan requests (dancer Max Drag Queen; professional weirdo Lazy Susan) and surprises, such as Nikita Iman, a powerful Aotearoa ballroom figure and competition frontrunner who went unrecognised by the other cast members when she first walked in.

Beyond their talent, the cast have given the show their all, both on and off the stage. Just as memorable as Lazy Susan’s constantly inventive runways is Max grieving the death of her mother a month before filming, and Nikita’s moving realisation that she is fa’afafine, a Samoan third gender. “They all knew [there was a sense] this is our last shot at the franchise,” says Art. “Let’s give it another go. Let’s make it worth it. Let’s make it stand out.” “They also seem to be helping each other as much as possible, which has helped them all do so well. There’s been a few episodes where I don’t know who they would have sent home.”

Season four seems better set up for the cast’s success, Art says. It’s not necessarily because of RuPaul’s absence, but because of the opening of the third judging panel seat, which has seen the show invite a rotating roster of Australian champions – a first for the series. (It also helps that the budget associated with RuPaul has been reallocated elsewhere, with a noticeable upgrade in sets and lighting.) “What I’m excited about with this season is that the judging panel has added real Australian drag queens, who have a voice and an opinion,” says Art. “It’s so good to see drag queens judging drag queens. But it makes so much sense – like, ‘Why haven’t we done this before?!’”

“It’s really added to a family feel to the show, which has really helped,” agrees Visage: “They’ve walked the walk, they’ve been there, literally. It’s been so great having them, and they all bring something different.” Plus, with Nicholson there, the guest judge seats have mostly been filled with local celebrities, with Visage the only American out of place. The queens’ cultural reference points have landed, and the pressure has been off. “The queens are more comfortable and relaxed,” says Art. “RuPaul is the biggest drag queen in the world, so everyone is on their best behaviour and trying to impress; I’ve never felt a room of buttholes clench so tightly as when someone walked into a room. It’s been incredible.”

Regardless of which finalist wins this Friday, the season four cast of Down Under can hold their heads high. Art hopes the strong showing means the series will continue, and hopefully give a voice to the broader drag community, including drag kings, trans and assigned-female performers. “The drag part is the fun part, right?” says Art. “The runways and the glitter and the glamour, that’s the fun part, but at its core, Drag Race is about telling queer stories. And we’ve got a lot more stories to tell.”

RuPaul’s Drag Race Down Under is streaming on Stan.