Queens of the Dead is a masterclass in comedic storytelling. Swathed in neon lights, glitter, and killer music, this is not only an excellent film – but a love letter to and highlight reel of all things drag.
I typically avoid horror – especially zombie movies. (I’m still recovering from what Doctor Strange: Multiverse of Madness did to Wanda.) But when I saw Queens of the Dead was screening at Ray Stark Theatre, something told me I had to go.
I’m glad I did.
From the very first scene, I was hooked. The film opens with drag queen DJ talking on the phone about a bad drag gig, and that, after going to church, she was going to do a show at the Yum Club for nostalgia’s sake. Instantly, DJ’s outfit establishes the tone and look of the movie, covered in rhinestones and bright hair and makeup that set her apart from the dreary backdrop of Brooklyn, New York.
When DJ arrives at the church, she gets a notification from the app Skinz – a play on dating app Grindr – that a potential match is in the building. When she decides to find ChoirBoy69, he’s already turned – and within the first twenty minutes, DJ is bitten.
Despite- or perhaps due to -the campy premise, Queens of the Dead delivers on a surprising amount of grounded heart. Whether it’s Dre and Kelsey looking for their wives during the apocalypse, Scrumptious trying to earn respect as a new drag queen, Jimmy confronting his homophobia, or Ginsey Tonic and Sam rekindling their estranged friendship, unexpected tears were brought to my eyes.
That emotional authenticity didn’t happen by accident. In a post-screening Q&A, producers Natalie Metzger and Matt Miller revealed two aspects of the production that explain why this film feels so singular.
The first unique aspect of this movie is that it started with a look-book.
The look-book really blew me away […] it had such a clear vision, just within the look book.
– Natalie Metzger, producer of Queens of the Dead
Metzger stated that when Queens of the Dead was pitched, production company Vanishing Angle wasn’t taking on new projects. However, after viewing the film’s look-book, Metzger was determined to create the film. During the Q&A, the audience was given a short look into the look-book’s contents, including references to drag legend Divine (who also inspired Ursula in Disney’s 1989 The Little Mermaid), specific descriptions requiring all blood in the film to contain glitter, and original concept art.
The second unique aspect of the film is that its producers were very intentional about curating a queer cast and crew, as well as upholding the ultimate respect for their identities. For example, Jack Haven- who portrays the hyper-femme Kelsey -was in the process of transitioning when he was offered the role.
While telling the story about this very intentional aspect of the filmmaking, producer Matt Miller recalled the team’s contemplation on whether to offer Haven the role, out of respect for his transitioning journey. Ultimately, the casting team consulted their hired queer-culture experts, who advised them to let Haven make the decision – which they did, prioritizing Haven’s autonomy over making assumptions about the “politically-correct” process of handling such an important casting.
[Playing Kelsey was] the most fun I’ve ever had.
– Jack Haven
It is also worth noting that the director of Queens of the Dead is Tina Romero, daughter of George A. Romero – the legendary director of Night of the Living Dead (1968), Day of the Dead (1985), among others. With this added layer, Queens of the Dead becomes an even more heartfelt film – an active representation of a father-daughter relationship. Sadly, George A. Romero passed away shortly before the film was released.
He said, ‘I love it! Run with it. Go for it.’ Unfortunately, he never got to read the completed script because it took me about seven years to get this developed, and it’s gone through so many iterations over the years — but I did have this blessing.
Altogether, works like Queens of the Dead are re-defining the horror genre, made by and drawing upon a real heart of a historically underrepresented demographic outside of “coming out” narratives. Unlike films such as But I’m A Cheerleader, which was a trailblazing film for queer representation, Queens of the Dead is queer from the start – centering instead on the importance of friendship, boldness and self-esteem. If you loved But I’m A Cheerleader‘s campy energy or The Princess Diaries‘ celebration of transformation and found family, Queens of the Dead deserves your attention.
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