Pop Culture Happy Hour - Stop! That! Train!

Episode Date: June 15, 2026

The ridiculously fun new film Stop! That! Train! brings the gags-a-minute silliness of Airplane! to the bawdy world of RuPaul’s Drag Race. But does it chug along smoothly or does it veer off the rails? RuPaul stars as the president of the United States who must help save a train from a massive stormaganza. Drag queens Jujubee and Ginger Minj are train attendants aboard the runaway train filled with Drag Race alumni and comedy heavy-hitters who are here to serve looks and bring the shade. If you need more goofy little movies, check out:'The Naked Gun' packs jokes on jokes on jokesOur favorite movies on TubiConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Stop that train is what you get if you took the gags, a minute silliness of airplane, crossed it with a lighthearted friendship of Barb and Star, and then filtered it through the bawdy lens of RuPaul's drag race. In case it's not clear, this is a good thing. It stars Mother herself Rupal Charles as the president of the United States, because of course it does. Along for the ridiculous ride on this runaway train is a cavalcade of drag race alumni and comedy heavy hitters who are all here to serve looks and bring the shade.

I'm Glenn Weldon. And I'm Aisha Harris, and today we're talking about Stop That Train on Pop Culture Happy Hour from NPR. Joining us today on NPR's Pop Culture Happy Hour is entertainment host, culture commentator, and co-host of High Key. Ryan Mitchell, welcome back, Ryan. Happy Pride, everybody. Hey. Happy Pride. And happy, Stop That Train.

The only reason I'm saying this is because every word comes with a exclamation point. No jury in the world will convict you. And to be honest, RuPaul would actually want you to say it like that. I think you're doing a great servant. Thank you. I'm just trying to serve mother, as they say. So stop that train. Stars Drag Queen's Gigi and Ginger Minge as train attendants, D.D. and Tess.

I'm Tess. One time I ate a magnet and got stuck to a flagpole. Didi, I was born with adult teeth. Yes. They find themselves unemployed after the budget train line stink rail goes out of business. And then they quickly land a new gig aboard the Glamazonian Express, a luxury high-speed railway. But a massive stormaganza

threatens to make their first trip a bumpy ride. Enter President Gagwell, played by Rupal. And traffic controller Donna Dusk, played by Rachel Bloom. They step in to help keep this train on its tracks and out of harm's way. Stop that train is in theaters now.

Ryan, tell it to me straight. How do we feel about stop that train? I'm going to tell it to you gay. Yes. Thank you. No, I absolutely loved this movie. I was not sure what I was going to get, to be quite honest. I was like, one, I'm shocked at this film is going to theaters.

I thought it automatically in my brain was like, wait, it's going to go to a streamer or it's going to be on the World of Wonder app and everyone can kind of take it there. But to know that they sort of got this moment to have in theaters at this huge large stage, I'm like, oh, this is going to be something major in the cast is stacked. Yeah. But ultimately, I do love it, but it also feels like, okay, if you are a fan of Rupal's Drag Race, honey, you are watching a Rousical in a Rupal's Drag Race Challenge, lock in because it's about to be a wild. Yes, yes.

Okay. I love it. Lock in, buckle up, fashion your seatbelts, all that stuff. Glenn, tell it to me however you want to, straight, gay, whichever way you want. How do we feel? Yeah, I reviewed this movie for NPR, and I started out by saying something very similar to what Ryan just said, which is this is a better-than-average acting change. challenge on a better than average episode of a better than average season of Rupal's drag

race. And, you know, for those who know what that means, that's going to give them an accurate assessment of whether or not they're going to go to the movies, stream it, or avoid it like the plague. Most people, that's not going to mean anything. So if I can break it down for them, I would say that long ago, back in the elder days, when Icthesores swam the turbid seas in the year 1980, a film you already mentioned Aisha called Airplane Came Out. There was a spoof of 70s disaster films, which were then very thick on the ground. And it created this formula. The endless barrage of very dumb and very sweaty jokes and a lot of very game celebrity cameos.

And all the goofiest jokes were played absolutely straight with the kind of sort of same, you know, weighty intensity that the movies that they were parroting had because, and that's why it worked. Except there was this island in the middle of that film, the character of Johnny, who was played by the late great icon Stephen Stucker. He was a guy who worked in the control room, and he was going to say he was coded as gay. There was no code. You didn't need an enigma machine to decrypt, like, flamingly gay. And if you're a queer person in that audience, and even as a queer kid, you see him come on screen, you kind of go into a defensive crouch because it is 1980. Yeah. And you're just waiting there for a lot of really hateful, lazy jokes at Johnny's expense, except not.

Johnny is so charming and funny, and he's such a chaos gremlin that you start to realize that everyone in the audience, including your parents, who never met a lazy, hateful gay joke that he didn't love. They're laughing with him, not at him. He's not the butt of the joke. He's our friend. He's bringing us into the movie. He's breaking the fourth wall. And what people are reacting to is not the gay stereotype. But this guy is just free.

And he's himself. And he's hilarious. So I'll just put it this way. This movie is airplane. dumb jokes, celebrity cameos, and we'll talk a lot of the very same gags. We got to, let's be out, a lot of the very same jokes. Oh, my goodness. Yes, yes.

But it's airplane. It was nothing about the Johnny Bits, and that is a winning formula for me. But Ayesha, when I talked about this movie in our summer preview, you expressed some, like, you know, enthusiasm for it. And I was surprised by that because I, well, I wasn't, because I assumed from that that you must watch drag race. No. But I learned that you don't. I don't. Really?

No. And then I learned. that, well, you know, she must have seen the trailer, but then I thought, well, you avoid trailers. Famously, you avoid trailers. So how did this movie, where did your enthusiasm come from? Okay. So first, I will say, I have seen exactly, like, approximately a half of an episode of Drag Race one time when I was at a gay bar in Puerto Rico and they were showing an episode. That feels right. And so, like, but it was still, it was a bar. So it's like, there's always so much attention that can be paid when you are, you know. Oh, you missed the Byzantine nuances. Yes, I did. I haven't avoided.

drag race for any particular reason. It's just, it feels at this point, I guess, overwhelming. And everyone I talked to tells me a different season to start and I don't know where to start. So I just haven't. But the thing is, I actually did see this trailer. It's a good trailer. Because I followed RuPaul on Instagram. And so it popped up and I was like, what is this? And then I was like, what is this? And then I was like, yes, I want this. This is like the one time your algorithm actually did you a favor. Yeah. Yeah. And so, and also learning that this was written. by Christina Friel and Connor Wright.

They're credited with the script here. They wrote a TV special, Christmas special, that I very much enjoyed The Bitch Who Stole Christmas, which also stars RuPaul. So I'm like a RuPaul fan, just not within the context of drag race. I know that sounds strange, but that's where we are. And I very much enjoyed this movie.

Like you said, Glenn gets like airplane, but with just like a distinctly queer sense. And I loved so many things about it. I love the many recurring gags, the many faces that we see. Sarah Michelle Geller pops up here doing a fun bit. We got some great songs. We've got Rachel Bloom. Rachel Bloom.

I love Rachel Bloom so much. She is kind of for me. Of course, she's like the straight person in this movie. But like she really is for me kind of the surprise. I was surprised at how much I enjoyed her, not because I haven't enjoyed her in the past, but I was just like, oh, they're really giving Rachel Bloom a lot to do here, and she can play with it. She can play against all these characters. Her and RuPaul have great chemistry. She's just a delight. So I loved this, but I also feel like the problem, and I think, Glenn, you put this really,

really well, and you articulated it well, but I always come up against this issue when talking about spoof movies, because it's like, how do you talk about this? Like, it's just gags, you know? And on top of that is like, it depends on what your humor is and how you respond to that. Ryan, I'm curious, like, outside of the RuPaul world, are you a spoof person? You enjoy spoof movies or like, what about this? Made you excited about it besides the drag race aspect of it, if anything. Yeah, I mean, when I think of spoof movies, I think of, like, movies, like, scary movie, you know? And I love some of the earlier ones, but if we're talking about the newest one, please throw it away,

and it just doesn't work. But because this has rooted, like, specifically in queer culture, and there's just like, oh my god i've had these either conversations or made these jokes or have seen this it just feels like home it felt like i was literally hanging out with friends and we were all sort of like having the same joke i think that is what really makes it work here because here's the thing if you are really not someone that is necessarily a drag race fan or if you don't like really have queer friends or like you're in queer community this may be like what is this sort of deviance like movie like that is like full of like ruPaul literally running over a toddler in a train. Like, you know what I mean? Like, there's some things that you just won't understand because you're, like, too serious. And I think queer culture allows you to sort of laugh

at the things that you've sort of been, like, made fun of for so long. And I think for a spoof movie, this is actually quite perfect. And I think it's why the show, RuPaul's Drag Race, has worked for so long because it embraces stupidity. And for me, when it's done really well, it just works. And there were moments in this film that I felt, like, okay, this gag is going on like five, ten minutes way too long. Yeah.

But other times I felt like, oh, this felt really, like, wonderful. It felt like, oh, my God, I'm leaving this film with multiple quotes that I'm going to say at all times, like, vocals film. So I think that's what makes a good spoof movie, because if you're not able to make fun of people or make fun of, like, stereotypes, well, it won't hit. It'll actually offend everyone. Yeah. It just will be like, oh, this was gross. Like, what is this? And I think other spoof movies, in my opinion, have sort of turned me off in that way where I've been like, okay, this could have been smarter.

Yeah. I need, like, stupidity and smartness in my spoof movies. If it's not there, then girl, throw it away. Yeah. Exactly. I mean, like, this movie benefits from two things. One, the joke density, which is like, it's like that of a neutron star. This is a very joke-dense movie.

And so the signal to noise ratio is going to work out because if this one didn't work, the next one might. it's also benefiting from the fact that something you mentioned is that I kind of went into this thinking, I know exactly what this is going to be because some of these, you know, movies and certainly a lot of acting challenges are nothing but references, Easter eggs, callbacks to things on drag race. And, you know, if 24 seasons of Family Guy have taught us nothing, it's that references are not jokes. There's a difference.

And this thing has some really well, constructed, solid, but really dumb. Those are not mutually exclusive. Really dumb jokes, not just shout. I mean, there's some shoutouts to, like, drag race, catchphrases, but they're there to add seasoning. They're there for the nerds without shutting out the normal. And Leo Michelle catches a stray, too, which I found hilarious.

Hey, she catches this. Oh, the best stray, actually. And, like, you know, this is how this movie is like a Marvel movie. It's one of many ways this movie is, but it's there for the nerds, but the normals can kind of get it, too. Yeah. Shut out. I also think to your point, Ryan, like the question of why is this in theaters or like the shock that it's in theaters.

Like just what I know about the drag race fandom and the fact that like I said, I was watching this at a bar. And like there are bars and communal spaces all over their world that are watching. And it is a communal experience. And so I can imagine I did not watch this in a theater, but I can imagine this is the type of movie. Like if you're going to go see it, you want to see it with as many people as possible. Like, definitely. Honestly, most spoof movie, that's kind of how I feel because you want that collective experience of laughing at something dumb. And if you're doing it just by yourself or maybe with one other person, it doesn't quite hit the same.

But that's what makes this so interesting, though, because Rupal's drag race, this is not accurate, but has been on for like 738 seasons. There's like an oversatuation up, like, to, you know, this show where a lot of people and a lot of the commentary, either from Queens or, like, fans of the show have been like, oh, I think after the 20th season of drag race, they may need to take a break for a little bit and revamp and then come back. So there is like sort of this tiredness of just the constant cycle because it's not just RuPaul's drag race. It's all stars. It's global. It's international, you know, seasons. And so for me, when I saw that it was coming to theaters, I was like, wow, this is yet another example of how much RuPaul loves capitalism and is willing to like make sure that he is everywhere.

the brand is everywhere, world of wonder is everywhere. I mean, even in the film, you see someone playing the Rupal's drag race like game in the film. That's a classic, like, drag race sort of like callback because the show is full of, you know, RuPaul's iconic music, by the way. Rupal's discography is quite amazing. I want you to get into it. It is. But it's a cycle of just being like, it's like for-ru-by-ru.

And so it's, I'm interested in seeing if people do go to the, to the, to the, theaters to see this film because there is unfortunately so much drama surrounding it. It's not even out yet. You know, it will be out by the time this is aired, but it's going to be really interesting with the juxtaposition of just people's sort of exhaustion overall with the show. Yeah. If I'm being quite honest. Okay. Well, I do also want to talk a little bit or ask you all about like the look of this because the look also feels kind of much of the special effects to me kind of felt rendered as though it was like Windows 95, but on purpose, what do we make of the way this movie looks? There's this whole discourse that's unfolded online about AI and this movie,

and the distributor confirmed there's a mix of CGI effects with some shots enhanced by AI. And it doesn't look like, this is not what I would say is like mainstream broad appeal. This is like lo-fi, kind of tacky, but deliberately so. Ryan, I'm curious, you're nodding. Yeah, no, because I completely agree, actually. Like, I was sort of happy I didn't see this in a theater because it was met perfectly for a screener link. I felt that because there is so much conversation around possibilities of usage of AI in this film, of course, like the team speaking out against that, it's just so interesting to me around like,

oh, Rupal's Drag Race is such a place that's supposed to be all about, like, authenticity and, like, you know, protecting queer art. It just gives me, like, the ick when I do know and see something like this, especially when you get your big breakup being in a theater that you're sort of cutting, you're cutting corners. And it feels that way.

There is a way where, yes, there could have been different decisions being made, in my opinion, over this. Yeah. Yeah. At the end of the day, I'm old enough, I don't know the difference between CGI and AI, really. I mean, I'm used to thinking that CGI looks muddy and AI slop looks too clean, too bright, too sharp.

And this airs on my humble estimation in a latter category there. But, you know, at the end of the day, it's exactly your point. It looks tacky. It looks cheap. It looks low rent, which is should. That's the vibe. That's the aesthetic they're going for here. It doesn't look cheap and shoddy like it would in 1975 if they made this, you know, using practical

sets and practical effects, but it looks cheap by today's standards. And I don't know, I kind of serve the whole, hey, queens, let's put on a show vibe for me. Do you think they were actually intentional about it looking cheap and tacky? I kind of think so. How could they not be, right? That's what I'm saying, though. I genuinely feel like it's intentional for them to be like, oh, this is what this world looks like at such a, like, a high gloss, you know, angle of what this film could look like. But I don't know. I think they actually do you think it looks really good. Oh, interesting.

Well, now we're just trying to get into their heads, but I don't. True, true, true. And LaTrease Royale did an interview where she said, Adam Shankman was very clear with us not to contour. He didn't want us to have like sharp lines on our face, which tells me that he knew exactly how a digital production would look. And he was doing everything he could to soften it and make it look as good as possible in the realm of drag. Yes. Yeah. Yeah.

Yeah. I mean, I still think everyone should see it. I think it's, like, hilarious film and, you know, go see it with your friends. Friends and enhancements. That is what we are suggesting. This is coming out in theaters, yes. It's coming out in theaters opposite a science fiction film by Steven Spielberg. So, I mean, you can call that counter programming or you can call it getting buried.

I don't know. We'll see how it works out. But the only aspect of this movie that. felt a little, I don't want to say watered down, widened out for a mainstream audience, is that, look, you got drag queens on screen, trading barbs, flaring their nostrils, slapping the bejesus out of each other. I felt like those barbs were a little placeholdery. They were cutting, but feeling like they should really lacerate, draw blood. And I felt like maybe we were hanging back. Like we were on the threshold of the gay sex dungeon that we were kind of lingering in the doorway.

You know, just for just tip for the sake of the random straits who might wander into the theater by mistake. But that's why I kind of felt like that was their eye towards box office. Ryan, do you get what I'm saying here? Does that resonate? I do. I do feel the same way because if Rupal and like in this team wanted to push it, they could have pushed it. But I do think there was probably a reeling end of being like, all right, if we want to make this. Actually, this goes to a larger conversation about the mainstreamness of like drag.

And like how drag race has sort of come into like the everyday conversation of everyone, right? Like a lot of people don't. Yeah, you mean drag brunch? Yeah. The proliferation of drag brunch. Exactly. Like there's some, there has to be some editing that in some refinement that, you know, people, amasses can take, which sort of takes away for me the charm because it's like, you were right there. Go over the finish line.

And if you're going to give me something completely disgusting, just do it because I'm going to live for it. But because it feels like they're trying to make this palatable for all audiences, it's sort of like, why not just go to the audience that you know is going to want to see this movie and actually like be very excited to see some of the old Gs of drag race and some of the new phases and some of like their favorite, like iconic like celebrities and queer icons and things like, like just do it and not have to worry. about sort of oddly code switching in your films? It feels like a version of that in some ways. To Ryan's point, I mean, like, Rupal always has an eye toward the bottom line. She wants to be as big as possible. So, yes, she's in the same queer cinema space as John Waters. She's never going to be John Waters.

She's never going to try to be John Waters. She's always going to pull back and have an eye for a wider reception and good for her. I will say one thing, though, like, if you feel inclined to see this movie, go see this movie, you'll be helping out your local theater, you'll be helping out the good folks at Bleaker Street, the distributor. You'll be helping out queer cinema writ large. You'll be also be helping out drag as it manifests on Rupal's drag race, and that's great. But, you know, if you're already out and about, think about keep the night going and maybe take in a real drag show in your town, get out your paper money, go tip these performers who are sweating through their foundations for you. Because despite the

success of drag race, as the show has gone on, this is something Ryan was talking about, it has highlighted and promoted a very, I will generously say, a very bespoke definition of drag. And drag is an art form writ large is under threat. So spread the love to these performers who may not conform to a very specific, I will go as to say, niche demands of the drag race competition. Get out there. You're already out. Go have a great time.

Even a drag brunch. Go to a drag brunch. And try to support your local drag kings, not just your queens. I'm just sad. Absolutely. Absolutely. Oh, my God. Shout out to King Malasses.

one of my favorite drag kings. There you go. There we go. There we go. Well, I think we've all said you should stop at that train line. Go see stop that train. I don't, I'm bad at metaphors. You know what I mean. This is the Glovisonian Express. It's not the stank rail. We enjoyed it. I would watch another one of these. It was very fun. Sure. I really did want to see what the stank rail looked like though. Yeah. I was like, I really need to see someone on this stank rail. Yeah, I mean, there you go. We could have, I think, think I could have handled the steak rail. I think I could have handled seeing it. RuPaul. You've deprived us. Well, that brings us to the end of our show, Ryan Mitchell, Glenn Weldon. Thanks so much for being here. This was so, so fun. Thank you for having me.

Thank you. And just a reminder that signing up for Pop Culture Happy Hour Plus is such a great way to support our show and public radio. You get to listen to all of our episodes sponsor-free. So go find out more at plus.npr.org slash happy hour or visit the link in our show notes. This episode was produced by Liz Metzger and Mike Katsif and edited by our showrunner Jessica Reedy. Hello, Kempin provides our theme music, and

thank you for listening to Pop Culture Happy Hour from NPR. I'm Aisha Harris. We'll see you all next time.