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THE COMMODIFICATION of drag by TV and social media-in other words, the commodified, queered, costumed male body presented through TV shows like RuPaul's Drag Race and all the social media coverage promoted by RuPaul's alumni and fan base on several online platforms-raises the concern of drag transforming from a traditional strategy for resistance into a trivialized and depoliticized representation of gender. Roger Baker, in his definition of drag, establishes "dissent" as a core characteristic of drag. He writes: "Drag is about many things. It is about clothes and sex. It subverts the dress codes that tell us what men and women should look like in our organized society. It creates tension and releases tension, confronts and appeases. It is about role playing and questions the meaning of both gender and sexual identity. It is about anarchy and defiance."1 Drag has been culturally attached to gestures of resistance when referring to gender politics, as in the case of the Stonewall Riots in 1969,2 and/or traditionally connected to theatrical forms such as drag queen performance or camp expressions in spaces considered theatrical. Theatrical drag, then, has historically served as a platform for the presentation of gender when other possibilities for expression were not socially acceptable. In her book Vested Interests, Marjorie Garber describes this situation: "The phenomenon of crossdressing within theatrical representation, whether in the Dame and Principal Boy of the English pantomime, or in the popularity of films like Victor Victoria., Tootsie and Some Like ItHot. . .or indeed in the mode- increasingly chic today-of female impersonation as theatre, may be not only a commentary on the anxiety of gender roles in modern culture, but also-and perhaps primarily-a back-formation: a return to the problem of representation that underlies theatre itself."3 Therefore, when considering the historically stigmatic position of homosexuality, professional drag done in nightclubs, gay bars, or street performances can also be considered a strategy for dissent. This was a strategy to normalize what otherwise would be considered deviant behavior. Esther Newton, in her book Mother Camp, talks about the professionalization of this subculture and the position that drag had in society: "Thus, insofar as female impersonators are professional drag queens, they are evaluated positively by gay people to the extent that they have perfected a...