Everyone has their favorites from each season, but the true stars of the show are the Boulet Brothers themselves. The couple are consistently a visual treat, inducing squeals of glee across the globe with the reveal of every new costume. Their critiques can be idiosyncratic and confusing when it comes extermination time, but also - it’s their fucking show.



And they have no problems making that a known fact, basically highlighting it in the completely unnecessary vignettes that introduce each episode’s theme. Throughout the series you can often see Dracmorda and Swanthula’s love of drag, glamor, filth and horror. It comes across occasionally in their critiques, but those little intro scenes are a tribute to one of the horror genre’s greatest gifts: camp.



This pair loves audacity and foolishness all wrapped up in dark overtones. Season 1’s budget could have been a dealbreaker for the success of the series, but it wasn’t. The show seemed to thrive in the grit of its low budget, and that rawness created a B-movie aesthetic that lent authenticity to the proceedings. Some fans may not appreciate the Boulets’ intro scenes or have complaints about the first season’s sound quality, but that’s short-sighted on their part. Dragula is a show about art via horror and queer gender expression. You can get slick production value and presentation elsewhere. If you’re demanding perfection from art, you’re missing the point.



Instead of exploiting our queer foremothers to make a buck, the Boulet Brothers and Dragula are about continuing a queer legacy of embracing darkness and outcasts. Their mission isn’t to embrace capitalism, chase opulence and own everything. In the same spirit of filth pioneers Divine and John Waters, it’s to shock and awe and find the freedom in anarchy and the macabre. With a modern drag culture filled with conformity, Dragula is literally asking the question:



“Who wants to die for art?”

