After the success of reality competition shows such as Project Runway and America’s Next Top Model in the United States, RuPaul’s Drag Race reached the small screen to be the first TV programme of its kind to feature drag queens. Through textual analysis and theories of queer and feminist studies, this thesis joins the fundamental debates about drag and its role in society. With these debates as a starting point, this thesis is dedicated to determining the position of Drag Race within the tension between gay politics and queer politics that lies in the programme’s construction of what drag is supposed to be. By focusing on the relation of masculinity and femininity in drag, and on the role of sleaziness in drag, this thesis argues that RuPaul’s Drag Race refuses to be located unequivocally as a project of either gay or queer politics. This reading does not only propose an innovative take on the programme but it also manages to further problematise the distinction between the two “kinds” of politics.