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At the end of February, amid the ever-persisting Heated Rivalry craze, an article was published for New York Magazine called “The Great Fujoshi Awakening: Why Do So Many Women Love Men Who Love Men?” In the article, the author made very specific references to works of fanfiction online, going so far as to link one of the works within the article. There was immediate public outcry by fans on Twitter discussing the impropriety of bringing free fan works into a for-profit space without the fanfiction author’s consent. While the work was delinked soon after, it brought attention to the rapidly increasing lack of boundaries in fandom spaces, both by fans, people interacting from an outsider perspective, and people involved in the source material.


A multitude of comments have surfaced recently regarding a “separation of church and state” in an analogy for keeping fandom spaces separate from the creators and/or cast and crew of the source material the fans are for. This idea is not new, as there have been conversations around the legality of fanfiction for quite some time. There can be copyright problems, which fans of Anne Rice’s literary works are probably familiar with. Rumors around Anne Rice suing fans for writing fanfiction in the 1990s have circulated for years, but in reality, she just took a stance against fanfiction out of a desire for creatives to come up with their own stories and leave her alone. Some fans said they received cease-and-desist letters from Rice’s lawyer to remove their fanfiction from the internet. It is important to note that Rice later changed her opinions on fanfiction due to realizing she could easily avoid coming into contact with fan works. Because similar problems have occurred over the years, some fanfiction websites, like Fanfiction.net, even have a list of authors whose works are prohibited from the site on account of the authors’ stricter copyright claims. 


Most of the time, copyright claims are only an issue for fanfiction if the creator is somehow profiting from the material. Fanfiction is on public websites with free access, and there are rarely instances where fanfiction authors are making money from their works because they know it would be a copyright issue. Part of the problem with the aforementioned article was that it was behind a paywall, indirectly profiting off of someone’s fanfiction that was temporarily linked. It’s incredibly important to note that Heated Rivalry itself stemmed from fanfiction. Author Rachel Reid adapted her first book in the series, Game Changer, from fanfiction she wrote about Steve Rogers and Bucky Barnes from the Marvel Cinematic Universe. She’s far from the first person to do so: Fifty Shades of Grey began as Twilight fanfiction, and The Love Hypothesis by Ali Hazelwood began as Star Wars fanfiction. 


It’s incredibly important to note that what all of these published authors have in common is that they’re women. To recenter Heated Rivalry, much of the backlash revolved around the idea that straight women were fetishizing gay men. There are plenty of straight female fans of Heated Rivalry, but to act as though they’re the only fans of the show or book series is disingenuous. There is a wide array of queer people who are fans of both, and there are queer people in the cast and crew. The show creator himself is a gay man, and he’s spoken at length about the nuances of why women are drawn to the show. The inflammatory comments surrounding the fanbase of Heated Rivalry are steeped in thinly veiled misogyny. When one Twitter user asked, “Why do men keep calling things women are into mass psychosis?”, another replied, “Cause they can’t use female hysteria anymore.” The fanfiction writer whose work was linked in the New York Magazine article made a statement on Twitter about the situation and also called attention to the rampant misogyny and ignoring of just-as-present queer fans. He (@/subc0rax) wrote, “It feels like a shame that an article that’s seemingly willing to engage with the reasons women enjoy this kind of romance and explore the fact that not all of these fans are even women doesn’t seem to be able to connect the dots and entertain the possibility that there are gay men enjoying the current Heated Rivalry craze with the same fervour and adoration as its female audience.” 


Many of the problems stem from fan works reaching the eyes and ears of the authors and other direct participants of the source material. Many of these instances have been brought up in relation to the Heated Rivalry article. One situation was on the Graham Norton Show, where Norton displayed romantic fan art between the X-Men characters Charles Xavier and Erik Lensherr to actors James McAvoy and Michael Fassbender. It is uncertain as to whether or not Norton received permission from the artist to project it on television and/or show it to the actors, but it also didn’t feel like it was in good faith and was much rather poking fun at the fan art. There have been similar issues in The Pitt fandom, where interviewers have been asking actors directly what their opinions are on ships (desired romantic pairings between characters, short for “relationships”) of their characters, sometimes even asking if they’re going to happen in the course of the show. An article was recently posted titled “‘The Pitt’ Fans Are Horny Little Freaks,” to which the author was essentially berating fans for shipping characters and creating fan works based on the show. The Pitt actors have also been shown erotic fan art in recent interviews, as a means for inciting some sort of reaction, once again without any consideration for the artists who very probably did not intend for the actors to see it. One Twitter user (@/midwestprincsss) commented, “I really don’t like that fanfic and fanart are being used to make actors give a reaction that’s profitable for the publication interviewing them. Fan work is not for corporations or the folks in the project. It’s for fans.” Most fans feel similarly, especially since the people showing the actors or whoever is involved with the source material are often doing so in bad faith.


Within fandoms, there are boundary problems surrounding parasocialism, in which fans act overly familiar with celebrities as though they know these people in real life. A divisive aspect of fanfiction in many fandoms is real person fiction (RPF), where people write about real people. While plenty of people write and make fan art for their own enjoyment, there are also plenty of people who take it too seriously and begin to intrude on the celebrities’ personal lives. Some will comment cruel things on a celebrity’s Instagram page, and some will go so far as to stalk a certain celebrity and their family. This was a longstanding issue in the Dan and Phil fandom, which kept the YouTubers from talking about their sexualities, relationships, and personal lives for well over a decade. There have been more recent issues for actors in the Disney+ Percy Jackson television adaptation, too, as the teenage lead Walker Scobell took to Instagram to call out “fans” who have been stalking and harassing his friends and family. These examples illustrate that this is not a one-sided issue of outsiders intruding on fandom but also fandom intruding on the lives of the creatives involved in the works they claim to love. 


This is not any one fandom’s problem, as these issues have been arising since before the age of the internet. However, the increased amounts of social media platforms and the rise of public-facing fandoms have made these issues more apparent. So what should we do? First, news outlets need to stop using fan works without the creators’ consent, especially when they’re profiting off of it. Otherwise, fandoms are always going to have problems. There will always be plenty of kind, welcoming, and respectful fans, just as there will always be some fans who start arguments, breach boundaries, and give their fandoms a bad reputation. As many things do these days, many of these problems boil down to critical thinking and media literacy skills. There needs to be a boundary between fans and what their fandom is for, or we will lose any worthwhile contact going forward. Fanfiction writers and fan artists shouldn’t be afraid of their works being exposed on television or published articles, and actors and other creators shouldn’t be afraid of their lives or the lives of their loved ones being aggressively disrupted.

The RuPaul’s Drag Race All Stars 11 promo just dropped this past Wednesday, and it’s already shaping up to be a sickening season. We’re excited to see Mystique Summers, an OG queen who has left a permanent impression on the franchise, return for their first time in years. Veteran queens like Silky Nutmeg Ganache, Morgan McMichaels, A’keria C. Davenport, and Kennedy Davenport are coming back to All Stars with a vengeance and an opportunity to finally receive a crown. However, they are up against some heavy hitters, All-Star first-timers like Morphine Love Dion, Crystal Methyd, and Sam Star. With all this anticipation, you definitely do not want to miss the season of All Stars, which premieres on May 8th.  



18. Silky Nutmeg Ganache: 

The Reverend Doctor herself is back to compete for the crown for the fourth time. This two-time finalist and lip-sync assassin has proved why she is a massive threat for the crown. The crowning jewel of her look is the way she accessorized it with brass knuckles that read “rubirth” and “crunch,” the former referencing her recent weight loss and the latter referencing her iconic catch phrase “munch munch crunch crunch.” Unfortunately, the simplicity of her pink bodysuit does not allow her look to stand out as much as the other queens, therefore earning her last place on our list. 



17. Mystique Summers:

Sixteen years after her first and only appearance on the show, Mystique Summers is back to snatch the crown. Mystique’s drag evolution is evident in her promo look, which showcases her elevated makeup skills and a wig that gradients from black to orange. However, the biggest gripe is the distraction caused by the strings going across her dress and the tie detailing, which is what caused her to place so low on our list.



16. Morgan McMichaels: With this being her third time competing on the show, will Morgan prove that the third time is the charm? This L.A. legend and recent Entertainer of the Year winner has proven that she is a major threat for the crown. The flame motif in her outfit was the perfect choice for the orange promo theme. We placed Morgan lower because the garment's material lacked a certain wow factor. 



15. Sam Star: With Sam returning so soon after her first season, in which she placed in the top four, we can only assume she is hungry for the crown. This drag daughter of All Stars 4 winner Trinity The Tuck always showcases the polish and glamour of pageant drag in her looks. The star motif throughout her outfit, a reference to her last name and her position as an all-star, was a standout factor of her look. However, the lack of purple in her dress is what kept her from placing higher on this list. 



14. Shuga Cain: After Shuga’s highly-disputed exit on Season 11, fans have been begging for her return, and that wish has finally been granted. Shuga’s dress design is simple, but her flair comes out with these dramatic ribbons that she has coming from her wrists and a fierce set of purple nails. 



13. Joey Jay: This fan-favorite, meme-queen is back, and this time she’s wearing wigs. Upon going home in the ball challenge, Joey has developed a reputation for subpar looks. However, this structured promo look demonstrates promise with these sickening details of the spikes and these heels that were made for stomping on necks. However, her wig clashes with the garment, which caused her to place lower on our list.



12. Crystal Methyd: Crystal’s conceptual clown perspective brought her all the way to the finale on Season 12. Now she’s back on All Stars, following in the footsteps of her drag sister Daya Betty, who was a finalist on the previous All Stars season. Her look is nothing short of pure camp, with a highlight of the garment being the star-covered fabric in reference to All-Stars. However, the unflattering shape of the outfit landed our season 12 queen in 12th place.



11. Jasmine Kennedie: Just outside of our top ten, we have Season 14’s Jasmine Kennedie. After coming out as a trans woman during the filming of her original season, Jasmine has blossomed into her true self, and now she’s back to compete for the crown. Her look is strong and sleek, with the highlights being the material, the cutout design, and the shoes. 



10. Hershii LiqCour Jete: The first queen in our top ten is Season 16’s first out, Hershii. Being the drag sister of the legendary Kornbread Jete, Hershii has big heels to fill and a shot at RUdemption. This chocolate bar diva came in hot with a fierce cape and bejeweled body suit that extended down her legs with a matching headpiece as a finishing touch. The outfit, being a leotard, pulled Hershii down from ranking any higher. 



9. Kennedy Davenport: The three-time finalist Kennedy Davenport is back on our screens for the fourth time and has proven time and time again that she is a major threat for the crown. The dancing diva of Texas is a drag legend and one of the biggest names on the cast. This promo look is incredibly opulent and reminiscent of Prince. It's fair to say this is her best promo look yet. 



8. April Carrion: During the Season 6 finale, April promised that she would be back for All Stars 2 to win the crown. Upon not being cast on All Stars 2, fans have been waiting for her return, and she’s finally back to compete for the crown. Her elevated mug and highly detailed bikini with multiple shades of pink stood out to us, earning her eighth on our list. 



7. Dawn: A fan favorite on Season 16, Dawn has been a highly anticipated queen to return to All Stars. With her promo look featuring a breast plate, her first time wearing one on the show, we can assume that Dawn has elevated her drag to the All Stars level, making her a top contender for the crown. Her high-concept tiger-print look, complete with elf ears and a tail, stood out to us, earning her seventh on our list. 



6. Morphine Love Dion: Deemed the Lipsync-Assassin of Season 16, Morphine has been a big name in drag since her season first aired. A consistent stand-out in Morphine’s looks is her makeup, which is always flawless. Fan her off because Morphine comes in hot, hot, hot, and ready with these flame details, with the shining piece being the flame mask. 



5. Vivacious: Twelve years after her first season aired, Drag Race legend Vivacious is finally back to compete for the crown. Vivacious is consistently referenced on the show for her iconic entrance look, and her promo look continues this trend as her headpiece is the elevated version of the headpiece she wore for said entrance look. Additionally, the pink trench coat is complete with a structural fanned back-piece. We appreciate her mix of drama and self-references, which earned her fifth on our list.



4. Aura Mayari: Known as “The Trade of the Season,” Aura consistently looks beautiful in and out of drag, and this look is no exception. She struts in with this warrior-inspired look, complete with a staff and crown, which stands out among the numerous gowns and bodysuits. The metallic gold and pink detailing is absolutely captivating. Her beautiful crescent moon headpiece is a great nod as she is the self-proclaimed “Filipina moon goddess.” 



3. Salina Estitties: On Season 15, Salina was known for her subpar looks and was even awarded the Golden Boot, an award for the worst look of the season. However, this promo look is an indication that she has stepped up her game. This gown, reminiscent of a quinceañera dress, stands out due to its ruffles and structural shoulders. The polish and elegance of this look has earned her third place on our list. 



2. A’Keria C Davenport: After two prior seasons, one of which she made top four, A’Keria has proven to be fierce competition for the crown. She absolutely stuns in this fabulous pageant gown, which she made herself. The drama and detailing of the look, accompanied by her always-perfect makeup and body, have earned her runner-up on our list. 



1. Lucky Starzzz: After Lucky Starzzz was eliminated first on Season 17, shocking the world, it’s no surprise that she was brought back to compete on All Stars so soon. Her high-concept, outside-the-box drag style is truly unique in the Drag Race world, making her one to watch out for. With her promo look, she took the orange theme and aimed for the stars and hit the sun. She earned the top spot because this conceptual and detailed look that reminds us of magma says everything about her and what she has to bring to the All Stars stage. Her makeup is the best out of all of the promo looks, and we just had to hand it to her, and it’s a big hand at that. 


All photos are sourced from World of Wonder and RuPaul's Drag Race All Stars Season 11. All credit and copyrights to World of Wonder Entertainment.


Article written and looks ranked by K. Pereira with Collin Killoran in association with 47Magazine.


Where were you back when being an adult became “adulting”? How many times have you proclaimed that “you’re just a girl” in the face of inconvenient responsibility? And are you often called back to the incoherent sitcom advice of Carrie and Miranda or Abbi and Ilana?



In the mid-2010s, television peaked for twenty-something comedies that gave levity and brilliance to the messiness of this era in life. Broad City, Girls, and the oh-so-rewatched SATC taught us that friendship could survive (and even thrive) in chaos.


The interpersonal connections of these series  insisted on their right to be unlikable, broke, and painfully self-serious. Insecure and its successors satirized the blissfully painful reality of the humiliation ritual that becoming a woman can be. Shortly after the craze in popularity for these series and their unmentioned counterparts, a drought fell upon the dramedy about twenty-somethings series worlds, yet none have gone unquoted, unreferenced, or unedited on TikTok (set to a Charli XCX remix). But in 2025, a miracle arrived in the form of a buddy comedy resurgence. Shows like Overcompensating, Adults, Too Much, and The Sex Lives of College Girls are ushering in a new version of the “lost twenties” narrative, with new series ordered that offer bespoke stories like “I Love LA”: Rachel Sennott’s trauma-bonded episodic comedy about primed Los Angeles transplants and natives. 


Where earlier characters stumbled through adulthood with naive earnestness, today’s leads are hyper-aware of their messiness.

When they fail, it feels like a vlog prompt or an inspiration for their untouched Substack article series, maybe even a story for their Hinge profile prompts. Although satirizing the dirty reality of failures in early adulthood isn’t new, it has been ushered in as the punchline rather than a supporting role in the greater comedic beats of these series.  


A decade after Broad City and Girls making fun of New York City’s ridiculous subcultures and the definitive millennial state of girlhood, and Insecure’s delivery of a woman’s navigation of love and success through a personal lens of life’s funniest of flops, new series are rewriting the foundation of poking fun and the new girl-to-girl who has it all pipeline.


Overcompensating leans into cringe-comedy, spotlighting characters who are too self-aware for their own good and the unshy awkwardness of being closeted and queer in college. Adults plays with the absurdities of post-grad survival — financial precarity, petty drama as hobbies, group chats as lifelines. Too Much thrives (and sometimes relies) on meta-humor and situational comedy, poking fun at the fact that every attempt at seriousness collapses into ironic chaos. 


The connective tissue is friendship, but not in the ride-or-die sense of Broad City (which I’m personally impartial to as a clingy Cancer rising). Instead, these relationships are more dead-on,  transient, reflective of the real world during this chapter of life where friends cycle in and out based on city moves, job shifts, and the occasional (and necessary)  mental health spirals or romantic crash outs.


There was a clear demand for Gen Z to see these dynamics in a more relatable and refined way, and every generation deserves to see its growing pains being made fun of and made into an arguably Oscar-winning edit that they can send to their roommate with the note “this is us”. Clear distinctions between the Jessica Salmon and the Hannah Horvaths of our screens can be easily identified, mimicking the differences of how life has become publicized for even the average struggling woman.


Today’s characters aren’t just fumbling in private; their mistakes are immediately broadcast, archived, and memed, even when set in the early 2010s era of MySpace status posts. New series like these are likely to lean into that reality, making self-awareness itself a joke, which we all love to identify with as we laugh.


 Earlier shows often revolved around career arcs — becoming a writer, an artist, a professional. In these stories, work is treated as an impermanent force: just another gig until rent’s due again, with love (both romantic and platonic) and self-discovery making it’s way to the front of the plotlines. The drama isn’t whether you’ll achieve your dream job, but whether you’ll survive another month on a corporate paycheck and/or side hustle while juggling the life stuff. 


Friendship has also rebranded in a reflective way! Abbi and Ilana were love at first sight-type of soulmates,  Issa and Molly had a bond that could bend but never break. Today’s friendships are less mythic and more transactional, reflecting a reality where people cycle through roommates, co-workers, and cities. It’s not worse — just different. Intimacy looks more like shared Uber rides or trauma bonding over failed connections rather than lifelong promises. 


So why do we keep coming back to these shows? Because they remind us that being lost is universal, generational, and deeply laughable? Is it our God-given destiny to produce an era-defining lineup of productions that can redefine the retellings of these awkward stages of life for each generation? If the first wave of coming-of-age comedies captured the chaos of becoming an adult, this new wave captures the chaos of realizing you’ll never stop becoming one. And maybe that’s the most grueling, giggle-inspiring portrait of growing up television has ever given us.


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