Stop! That! Train! – A Drag-Queen Disaster Comedy Takes the Tracks

“Stop! That! Train!” opened in U.S. theaters on June 12, 2026. The 92-minute film follows two train stewardesses, Tess (Ginger Minj) and DeeDee (Jujubee), who are reassigned to the luxury Glamazonian Express. When the train is struck by lightning and heads toward a catastrophic “Stormaganza,” they must cooperate with first-class attendants and President Gagwell (RuPaul) to avert disaster.

Movie Review: ‘Stop! That! Train!’

The project originated from World of Wonder co-founders Fenton Bailey and Randy Barbato, who conceived the idea 11 years earlier. Director Adam Shankman shifted the setting from an airplane to a train to preserve the high-stakes structure of classic disaster spoofs such as *Airplane!* and *The Naked Gun*. The screenplay was written by Connor Wright and Christina Friel.

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Key performers include RuPaul Charles as President Gagwell, drag alumni Ginger Minj, Jujubee, Symone, Brooke Lynn Hytes, Marcia Marcia Marcia (credited as Marty Lauter), and Latrice Royale. Supporting cameos feature Rachel Bloom, Sarah Michelle Gellar, Nicole Richie, Lisa Rinna, and Raven Symone. Shankman, known for *Hairspray* and *The Pacifier*, directed; Bailey and Barbato produced through World of Wonder, with Bleecker Street handling distribution.

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The film was shot in Los Angeles over 19 days, employing approximately 200 local crew members. Reported budget is $20 million. Runtime is 1 hour 32 minutes. The release is managed by Bleecker Street Films and World of Wonder.

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“Stop! That! Train!” represents a rare mainstream theatrical release centered on drag performers, extending the “Drag Race” brand into a feature-film disaster parody. Its camp aesthetic and rapid-fire joke structure aim to provide a “laughter-as-activism” experience for LGBTQ+ audiences while testing the commercial viability of drag-centric cinema.

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Producer Fenton Bailey described the film as a response to “real-life nightmare” conditions, emphasizing that “laughter is activism, is resistance.” Director Shankman noted that the intentionally “janky effects” are part of the film’s aesthetic and that the project allowed him to “make something unabashedly silly.” Producer Randy Barbato highlighted the independent financing and the film’s role as “indie film in studio drag.”

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Reviews acknowledge the film’s high joke density and RuPaul’s central performance. Critics note uneven chemistry between the co-leads and describe many jokes as “cheesy” or “placeholder.” Some reviewers point to low-budget production values and limited CGI quality, while others praise the energetic parody of disaster tropes.

Vulture

Initial screenings prompted speculation that generative-AI tools contributed visual effects. Director Shankman publicly denied this, stating, “There’s not a single generative shot in the movie, not one.” Conversely, a statement released by the studio claimed “ZERO shots conceived by AI,” reflecting conflicting reports on the film’s technical process.

NPR

Local coverage reported that Orlando theaters featured the film shortly after its release, with drag icon Ginger Minj highlighted as a draw for regional audiences. The article noted the film’s appeal to fans of the “Drag Race” universe and its positioning as an “irreverent, appealing disaster-movie parody.”

Orlando Weekly

• “There are a sum total of ZERO shots conceived by AI in the movie.” — Adam Shankman, Director

NPR

• “Laughter is activism, is resistance. If you can laugh in the face of oppression, that’s resistance, and more importantly, it’s fun. President Gagwell, she’s fun.” — Fenton Bailey, Producer

Variety Magazine

• “We can use all the stakes of what happens on an airplane and even the jokes,” — Adam Shankman, Director

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• “This is an indie film in studio drag, and that really is what it is.” — Randy Barbato, Producer

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• “She sad.” — RuPaul Charles, as President Gagwell (film line)

Vulture

Bailey and Barbato indicated plans to pursue additional drag-focused scripted projects, hinting at potential genre expansions such as horror. The film’s reception will likely influence future investments in LGBTQ+-centered mainstream comedies.

Variety Magazine