TOP HOLLYWOOD STUDIOS LIKE WALT DISNEY ARE ALIGNING THEMSELVES WITH THE NEW ‘DRAG QUEEN ECONOMY’ AND BEGIN TO PROMOTE IT TO CHILDREN

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by Geoffrey Grinder, Now The End Begins:

Studios like Disney are the latest entrant to the new drag queen economy, wooing the robust fan base that queens have carved out since RuPaul’s Drag Race broke out on Viacom’s Logo channel in 2009. While the show deserves much of the credit for the boom, its success dovetails with a wider cultural shift in depiction and exploration of gender identity. Top drag queens have ascended from working primarily nightclub gigs to selling out arenas, and appearing in major scripted projects

The massive success of ‘RuPaul’s Drag Race’ has launched dozens of stars and ignited red-carpet appearance deals for films like ‘Frozen 2.’ in the new Hollywood drag queen economy

Back in 2018, when the Drag Queen Story Hour began popping up at libraries all across America, it seemed odd to me that such a small and disparate group could pull off such a move like that on their own. But a little digging showed me that they  had rich and powerful help to establish themselves in a position to read books that cause gender confusion to children. As it turned out, the ALA, or the American Library Association, the largest and most-powerful group of its kind in the world, was funding and promoting them behind the scenes. So it is not simply an attack by the LGBTQ+P for Pedophile Movement on our kids, it was a coup staged by the very groups that are supposed to be protecting our kids. It was an “inside job” as they say in the Mafia.

“… but this is your hour, and the power of darkness.” Luke 22:53 (KJV)

Yes, there were some protests and pushback, but nothing that really changed anything to a high degree, even after it was revealed that some of the drag queens were registered and convicted pedophiles and child molesters. Now Walt Disney, a company that made their fortune on being ‘family friendly’ is throwing millions of dollars to support the new ‘drag queen economy’ that seems to be sweeping the nation. And all the while, lukewarm Laodicean Christians continue to watch Disney movies and support Disney with their purchases. We have warned you about Walt Disney for years now, with their annual Gay Days and mark of the beast ID chips.

There would be no drag queen economy if the Church was still functioning as the ‘salt and light’ we are supposed to be. Wake up, church, wake up.

Hollywood Is “Finally Catching On” to the Booming Drag Queen Economy Of The End Times

FROM THE HOLLYWOOD REPORTER: As Angelina Jolie made the usual red carpet rounds at the L.A. premiere of Disney’s Maleficent: Mistress of Evil, she stopped for a picture with stars who didn’t appear in the film, even if they looked like they had: drag queens Nina West, Shangela and Ginger Minj, decked out in horns, black dresses and, in Minj’s case, an ensemble dedicated to the film’s fairies.

In recent months, queens were invited to the Frozen 2 premiere and the Charlie’s Angels debut, posing with Kristen Stewart, Idina Menzel and Josh Gad. (Reps declined to say how much the queens were paid to appear.)

Studios like Disney are the latest entrant to the new drag queen economy, wooing the robust fan base that queens have carved out since RuPaul’s Drag Race broke out on Viacom’s Logo channel in 2009 (the 13-time Emmy winner moved to VH1 in 2017). While the show deserves much of the credit for the boom, its success dovetails with a wider cultural shift in depiction and exploration of gender identity. Top drag queens have ascended from working primarily nightclub gigs to selling out arenas, appearing in major scripted projects (including A Star Is Born and RuPaul’s upcoming Netflix series AJ and the Queen), making Billboard charts for music releases, socializing with over 100,000 fans at DragCon, and booking fashion collaborations with legacy brands like Prada and Moschino. “Drag queens have tapped into an audience that’s been desperate for a different kind of entertainment,” says Randy Barbato, co-founder alongside Fenton Bailey of World of Wonder, the company behind Drag Race. “Madison Avenue, the fashion industry and Hollywood are finally catching on.”

Merchandise sweetens the pot. At DragCon, an annual event in New York and L.A. (and the U.K. in 2020) co-produced by RuPaul and World of Wonder, fans can meet queens and buy their products: In 2018, $8 million was exchanged at the New York and L.A. conventions, which saw 100,000 combined visitors. “I make more in merch sales than I do in pay on big tours because a bunch of [my customers] are under 21 and can’t go to clubs,” says Race contestant and Coverboy Cosmetics founder Willam Belli.

“Drag queens are united in the visual aspect of drag, but that’s just an icebreaker: There are singers, comedians, actors, et cetera,” Jacob Slane, a partner at Producer Entertainment Group, which specializes in drag queen management, says. A diversified business portfolio can help improve an artist’s “longevity,” he says, and works to offset a drag queen’s considerable overhead, which includes the cost of costumes, makeup and wigs, which several queens say cost them, on average, thousands per year: Sasha Velour has said that her time on Drag Race cost her $4,000 for her looks on the show alone, and Jan Sport has said she spends $6,256 on costumes, wigs, makeup, nails, fragrance and treatments per year.

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