pág. 6551
EL HUMOR “CAMP TALK” EN LOS
SUBTÍTULOS AL ESPAÑOL DE LA SERIE
RUPAUL’S DRAG RACE: REVISTA
CIENTÍFICA Y ACADÉMICA
“CAMP TALK” HUMOR IN THE SPANISH SUBTITLES OF
THE SERIES RUPAUL'S DRAG RACE: ACADEMIC AND
SCIENTIFIC MAGAZINE
Pas. David Osvaldo García Méndez
Universidad Juárez Autónoma de Tabasco
Dra. Veronika de la Cruz Villegas
Universidad Juárez Autónoma de Tabasco
pág. 6552
DOI: https://doi.org/10.37811/cl_rcm.v10i4.25599
El humor “CAMP TALK” en los subtítulos al español de la serie RuPaul’s
Drag Race: Revista Científica y Académica
Pas. David Osvaldo García Méndez1
osvaldomendez250@gmail.com
https://orcid.org/0009-0000-8856-8538
Universidad Juárez Autónoma de Tabasco,
México
Dra. Veronika de la Cruz Villegas
veronika.delacruz@hotmail.com
https://orcid.org/0000-0003-3570-2021
Universidad Juárez Autónoma de Tabasco,
México
RESUMEN
El tema principal que abarcaremos en este artículo es el subtitulado del lenguaje y el humor arraigado
en la comunidad LGBTQ+ y cómo plantea importantes dificultades para transmitir con precisión la
sensibilidad camp y el humor presentes en el diálogo original en inglés, con el objetivo de identificar
las diferencias y los problemas que representa la traducción y subtitulación del éste. Todo esto gracias
a preguntas de investigación, por ejemplo: ¿Cómo se traduce y subtitula al español el humor
característico de RuPaul's Drag Race? Y ¿Qué estrategias de traducción se utilizan para transmitir el
estilo camp y el humor en los subtítulos en español? Además del uso de diferentes herramientas como
tablas de comparación y un checklist que funciona como parámetro para la evaluación de capítulos. Este
artículo se basa en una investigación cualitativa y con diferentes artículos que hablan sobre al análisis
de este humor. A través de éstos y de muchas recopilaciones de diferentes casos (episodios) se llegan a
los resultados que remarcan como el subtitulaje del humor LGBTQ+ o “camp” es adaptado desde el
idioma inglés al español así como su análisis y de donde surge la manera más aceptada para realizar el
correcto subtitulaje.
Palabras claves: Charla camp; humor; subtitulaje; RuPaul’s Drag Race.
1 Autor principal
Correspondencia: osvaldomendez250@gmail.com
DOI: https://doi.org/10.37811/cl_rcm.v10i4.25599
El humor “CAMP TALK” en los subtítulos al español de la serie RuPaul’s
Drag Race: Revista Científica y Académica
Pas. David Osvaldo García Méndez1
osvaldomendez250@gmail.com
https://orcid.org/0009-0000-8856-8538
Universidad Juárez Autónoma de Tabasco,
México
Dra. Veronika de la Cruz Villegas
veronika.delacruz@hotmail.com
https://orcid.org/0000-0003-3570-2021
Universidad Juárez Autónoma de Tabasco,
México
RESUMEN
El tema principal que abarcaremos en este artículo es el subtitulado del lenguaje y el humor arraigado
en la comunidad LGBTQ+ y cómo plantea importantes dificultades para transmitir con precisión la
sensibilidad camp y el humor presentes en el diálogo original en inglés, con el objetivo de identificar
las diferencias y los problemas que representa la traducción y subtitulación del éste. Todo esto gracias
a preguntas de investigación, por ejemplo: ¿Cómo se traduce y subtitula al español el humor
característico de RuPaul's Drag Race? Y ¿Qué estrategias de traducción se utilizan para transmitir el
estilo camp y el humor en los subtítulos en español? Además del uso de diferentes herramientas como
tablas de comparación y un checklist que funciona como parámetro para la evaluación de capítulos. Este
artículo se basa en una investigación cualitativa y con diferentes artículos que hablan sobre al análisis
de este humor. A través de éstos y de muchas recopilaciones de diferentes casos (episodios) se llegan a
los resultados que remarcan como el subtitulaje del humor LGBTQ+ o “camp” es adaptado desde el
idioma inglés al español así como su análisis y de donde surge la manera más aceptada para realizar el
correcto subtitulaje.
Palabras claves: Charla camp; humor; subtitulaje; RuPaul’s Drag Race.
1 Autor principal
Correspondencia: osvaldomendez250@gmail.com
pág. 6553
“CAMP TALK” humor in the Spanish subtitles of the series RuPaul's Drag
Race: Academic and Scientific Magazine
ABSTRACT
The main topic we will cover in this article is the subtitling of language and humor rooted in the
LGBTQ+ community and how it poses significant difficulties in accurately conveying the camp
sensibility and humor present in the original English dialogue, with the objective of identifying the
differences and problems posed by the translation and subtitling of humor (camp talk) from English to
Spanish. All this thanks to research questions, Such as how is the characteristic humor of RuPaul's Drag
Race translated and subtitled into Spanish? And what translation strategies are used to convey the camp
style and humor in the Spanish subtitles? In addition to the use of different tools such as comparison
tables and a checklist that functions as a parameter for the evaluation of chapters. This article is based
on qualitative research and different articles on the analysis of camp talk humor. Through these examples
and numerous compilations of different cases (episodes), the study arrives at findings that highlight how
subtitles for LGBTQ+ humor or “camp” are adapted from English to Spanish, as well as an analysis of
where the most widely accepted approach to proper subtitling originates.
Key words: Camp talk; humor; subtitling; RuPaul’s Drag Race.
Artículo recibido 20 mayo 2026
Aceptado para publicación: 20 junio 2026
“CAMP TALK” humor in the Spanish subtitles of the series RuPaul's Drag
Race: Academic and Scientific Magazine
ABSTRACT
The main topic we will cover in this article is the subtitling of language and humor rooted in the
LGBTQ+ community and how it poses significant difficulties in accurately conveying the camp
sensibility and humor present in the original English dialogue, with the objective of identifying the
differences and problems posed by the translation and subtitling of humor (camp talk) from English to
Spanish. All this thanks to research questions, Such as how is the characteristic humor of RuPaul's Drag
Race translated and subtitled into Spanish? And what translation strategies are used to convey the camp
style and humor in the Spanish subtitles? In addition to the use of different tools such as comparison
tables and a checklist that functions as a parameter for the evaluation of chapters. This article is based
on qualitative research and different articles on the analysis of camp talk humor. Through these examples
and numerous compilations of different cases (episodes), the study arrives at findings that highlight how
subtitles for LGBTQ+ humor or “camp” are adapted from English to Spanish, as well as an analysis of
where the most widely accepted approach to proper subtitling originates.
Key words: Camp talk; humor; subtitling; RuPaul’s Drag Race.
Artículo recibido 20 mayo 2026
Aceptado para publicación: 20 junio 2026
pág. 6554
INTRODUCTION
The intersection between language, culture and humor is a complex terrain, especially when it comes to
the translation and subtitling of television programs. It is essential to find linguistic and cultural
equivalents that generate the same humorous impact as in the original language, thus maintaining the
essence and enjoyment of the comedy for the Spanish-speaking viewer.
Television as a cultural artifact offers unique opportunities to explore the interplay between language,
identity, and humor. Among contemporary programs, RuPaul’s Drag Race has emerged as a global
phenomenon, celebrated not only for its dazzling performances and compelling narratives but also for
its rich linguistic textures. Central to its appeal is the use of “camp talk,” a highly stylized and
performative mode of speech characterized by irony, theatricality, and humor deeply rooted in queer
culture. The translation of this distinct linguistic register into other languages, such as Spanish, presents
significant challenges, particularly in maintaining the intricate humor and cultural nuances that define
the original text; in the specific case of series such as RuPaul's Drag Race, where the camp language is
an integral part of its identity, it is crucial not only to translate the words, but also to capture the tone,
irony and humor characteristic of the original.
RuPaul's Drag Race is an American reality television competition show produced by World of Wonder
for Logo TV, later for VH1, and finally for MTV. RuPaul, drag superstar, is the host, mentor, head
judge, and inspiration for this series, which details RuPaul's quest to find the next “America's Drag
Superstar”.
INTRODUCTION
The intersection between language, culture and humor is a complex terrain, especially when it comes to
the translation and subtitling of television programs. It is essential to find linguistic and cultural
equivalents that generate the same humorous impact as in the original language, thus maintaining the
essence and enjoyment of the comedy for the Spanish-speaking viewer.
Television as a cultural artifact offers unique opportunities to explore the interplay between language,
identity, and humor. Among contemporary programs, RuPaul’s Drag Race has emerged as a global
phenomenon, celebrated not only for its dazzling performances and compelling narratives but also for
its rich linguistic textures. Central to its appeal is the use of “camp talk,” a highly stylized and
performative mode of speech characterized by irony, theatricality, and humor deeply rooted in queer
culture. The translation of this distinct linguistic register into other languages, such as Spanish, presents
significant challenges, particularly in maintaining the intricate humor and cultural nuances that define
the original text; in the specific case of series such as RuPaul's Drag Race, where the camp language is
an integral part of its identity, it is crucial not only to translate the words, but also to capture the tone,
irony and humor characteristic of the original.
RuPaul's Drag Race is an American reality television competition show produced by World of Wonder
for Logo TV, later for VH1, and finally for MTV. RuPaul, drag superstar, is the host, mentor, head
judge, and inspiration for this series, which details RuPaul's quest to find the next “America's Drag
Superstar”.
pág. 6555
Image 1.
NOTE: Diagram made with information extracted from the show's fan page: RuPaul’s Drag Race Wiki:
https://rupaulsdragrace.fandom.com/wiki/RuPaul%27s_Drag_Race
Currently, the translation of the spoken language of an audiovisual product is approached in two ways,
the addition of on-screen text (subtitling) or the total or partial replacement of the spoken language. The
addition of text on the screen (subtitling) or the total or partial-substitution of the original sound track
with one in the target language (dubbing, narration, voice-over, voice-over, voice-over). The original
sound track with one in the target language (dubbing, narration, voice-over, interpretation), and the
choice of one technique or the other depends on factors such as custom, economic constraints, the genre
of the program, the distribution format or the audience profile (Diaz Cintas, J., & Anderman, G. (2009).
The following work focuses on the subtitling of humor in order to analyze the translation in the subtitling
of an audiovisual product: The reality show RuPaul's Drag Race, also known by its acronym RPDG.
In 2009, season one of this
program premiered on
Logotv channel in the United
States.
The program quickly gained
popularity and was marked
as the most watched series
on Logo in its first season.
In 2024, a spinoff was
launched in which 12 queens,
from almost every franchise so
far, participated under the title
“RuPaul's Drag Race:
Global All Stars”.
From its beginnings until
today, RuPauls Drag Race has
17 regular seasons in the
U.S., with the last one
currently on the air.
After its arrival in Mexico and
the first season was
completed, it was renewed
for a second season (already
aired) and a third season is in
the works.
By 2025, it plans to broadcast
more “drag content” such as:
• Season 17
• All Stars USA (season 10)
• All Stars France (season
1)
among others.
Image 1.
NOTE: Diagram made with information extracted from the show's fan page: RuPaul’s Drag Race Wiki:
https://rupaulsdragrace.fandom.com/wiki/RuPaul%27s_Drag_Race
Currently, the translation of the spoken language of an audiovisual product is approached in two ways,
the addition of on-screen text (subtitling) or the total or partial replacement of the spoken language. The
addition of text on the screen (subtitling) or the total or partial-substitution of the original sound track
with one in the target language (dubbing, narration, voice-over, voice-over, voice-over). The original
sound track with one in the target language (dubbing, narration, voice-over, interpretation), and the
choice of one technique or the other depends on factors such as custom, economic constraints, the genre
of the program, the distribution format or the audience profile (Diaz Cintas, J., & Anderman, G. (2009).
The following work focuses on the subtitling of humor in order to analyze the translation in the subtitling
of an audiovisual product: The reality show RuPaul's Drag Race, also known by its acronym RPDG.
In 2009, season one of this
program premiered on
Logotv channel in the United
States.
The program quickly gained
popularity and was marked
as the most watched series
on Logo in its first season.
In 2024, a spinoff was
launched in which 12 queens,
from almost every franchise so
far, participated under the title
“RuPaul's Drag Race:
Global All Stars”.
From its beginnings until
today, RuPauls Drag Race has
17 regular seasons in the
U.S., with the last one
currently on the air.
After its arrival in Mexico and
the first season was
completed, it was renewed
for a second season (already
aired) and a third season is in
the works.
By 2025, it plans to broadcast
more “drag content” such as:
• Season 17
• All Stars USA (season 10)
• All Stars France (season
1)
among others.
pág. 6556
This American has gained great relevance in the last few years due to its particular format and distinctive
expressions of the show, which has come to be consumed by a wide variety of audiences in different
countries.
The subtitling of humor refers to the process of translating and adapting humorous content from one
language into another in subtitles, often for movies, TV shows, or online videos. This is not just direct
translation—it involves understanding the cultural, linguistic, and contextual nuances that make
something funny in one language and trying to recreate that humor for a different audience.
Key Aspects of the Subtitling of Humor:
1. Cultural adaptation
2. Humor often relies on cultural references, idioms, or wordplay that may not exist in the target
language. Subtitlers must find an equivalent joke or expression that elicits a similar effect.
3. Wordplay and puns
4. Puns and plays on words rarely translate directly. Subtitlers must get creative to maintain the
comic intent, even if the words themselves change.
5. Timing and length constraints
6. Subtitles are limited in space and time. Translating humor must be brief, timed correctly, and
readable, while still being funny.
7. Tone and delivery
8. Humor often depends on tone, sarcasm, irony, or character voice. Subtitlers must preserve these
subtle cues even with minimal words.
9. Audience expectations
10. Humor varies widely across cultures. What’s funny in one country might be offensive or
confusing in another, so subtitles must align with the target audience's sense of humor.
This reality competition series, hosted by iconic drag queen RuPaul, has not only achieved worldwide
acclaim, but has also become a cultural touchstone for LGBTQ+ representation and celebration of drag
culture.
The essence of “RuPaul's Drag Race” lies not only in its outlandish drag performances and fierce
competition, but also in its linguistic style characterized by wit, innuendo and camp humor. Camp, a
This American has gained great relevance in the last few years due to its particular format and distinctive
expressions of the show, which has come to be consumed by a wide variety of audiences in different
countries.
The subtitling of humor refers to the process of translating and adapting humorous content from one
language into another in subtitles, often for movies, TV shows, or online videos. This is not just direct
translation—it involves understanding the cultural, linguistic, and contextual nuances that make
something funny in one language and trying to recreate that humor for a different audience.
Key Aspects of the Subtitling of Humor:
1. Cultural adaptation
2. Humor often relies on cultural references, idioms, or wordplay that may not exist in the target
language. Subtitlers must find an equivalent joke or expression that elicits a similar effect.
3. Wordplay and puns
4. Puns and plays on words rarely translate directly. Subtitlers must get creative to maintain the
comic intent, even if the words themselves change.
5. Timing and length constraints
6. Subtitles are limited in space and time. Translating humor must be brief, timed correctly, and
readable, while still being funny.
7. Tone and delivery
8. Humor often depends on tone, sarcasm, irony, or character voice. Subtitlers must preserve these
subtle cues even with minimal words.
9. Audience expectations
10. Humor varies widely across cultures. What’s funny in one country might be offensive or
confusing in another, so subtitles must align with the target audience's sense of humor.
This reality competition series, hosted by iconic drag queen RuPaul, has not only achieved worldwide
acclaim, but has also become a cultural touchstone for LGBTQ+ representation and celebration of drag
culture.
The essence of “RuPaul's Drag Race” lies not only in its outlandish drag performances and fierce
competition, but also in its linguistic style characterized by wit, innuendo and camp humor. Camp, a
pág. 6557
concept deeply rooted in queer culture, encompasses exaggerated, theatrical and often ironic expressions
of identity and aesthetics. We will examine how translators navigate linguistic and cultural barriers to
ensure that the humor and cultural significance of the original English dialogue is preserved while
making it accessible and relatable to Spanish-speaking audiences.
In addition, the role of linguistic creativity and adaptation in subtitling will be explored, as well as the
potential challenges and limitations translators face in capturing the dynamic and culturally specific
nature of camp talk.
The language and humor employed is deeply rooted in LGBTQ+ community, subtitling this content into
Spanish poses significant difficulties in accurately conveying the camp sensibilities and humor present
in the original English dialogue.
The analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race" sheds light on
the intricacies and challenges of translating humor across linguistic and cultural boundaries (Osvaldo
García, 2024)
This analysis seeks to examine the representation of humor and camp in the Spanish subtitles of
RuPaul’s Drag Race, focusing on the translation strategies employed to capture the show’s linguistic
creativity and cultural specificity. By investigating how puns, double entendres, and culturally
embedded references are adapted—or at times lost—this study illuminates the complexities of rendering
humor across linguistic and cultural boundaries. Furthermore, it reflects on the implications of these
translation choices for the broader understanding of camp as both a cultural phenomenon and a
communicative style. In doing so, this analysis contributes to a deeper appreciation of how humor,
language, and identity intersect in global media.
GENERAL METODOLOGY
Objective
Identify the differences and the problems that represent the translation and subtitling of the humor (camp
talk) from English to Spanish. As Osvaldo Garcia (2024) mentions “Understanding how Spanish-
speaking viewers perceive and respond to the translated camp and humor to complement the textual
analyses conducted thus far”.
concept deeply rooted in queer culture, encompasses exaggerated, theatrical and often ironic expressions
of identity and aesthetics. We will examine how translators navigate linguistic and cultural barriers to
ensure that the humor and cultural significance of the original English dialogue is preserved while
making it accessible and relatable to Spanish-speaking audiences.
In addition, the role of linguistic creativity and adaptation in subtitling will be explored, as well as the
potential challenges and limitations translators face in capturing the dynamic and culturally specific
nature of camp talk.
The language and humor employed is deeply rooted in LGBTQ+ community, subtitling this content into
Spanish poses significant difficulties in accurately conveying the camp sensibilities and humor present
in the original English dialogue.
The analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race" sheds light on
the intricacies and challenges of translating humor across linguistic and cultural boundaries (Osvaldo
García, 2024)
This analysis seeks to examine the representation of humor and camp in the Spanish subtitles of
RuPaul’s Drag Race, focusing on the translation strategies employed to capture the show’s linguistic
creativity and cultural specificity. By investigating how puns, double entendres, and culturally
embedded references are adapted—or at times lost—this study illuminates the complexities of rendering
humor across linguistic and cultural boundaries. Furthermore, it reflects on the implications of these
translation choices for the broader understanding of camp as both a cultural phenomenon and a
communicative style. In doing so, this analysis contributes to a deeper appreciation of how humor,
language, and identity intersect in global media.
GENERAL METODOLOGY
Objective
Identify the differences and the problems that represent the translation and subtitling of the humor (camp
talk) from English to Spanish. As Osvaldo Garcia (2024) mentions “Understanding how Spanish-
speaking viewers perceive and respond to the translated camp and humor to complement the textual
analyses conducted thus far”.
pág. 6558
METODOLOGY
This research is based on a different articles refers to the analysis of camp talk humor. First of all, it
should be made clear that the purpose of the paper is not to produce an assessment in terms of correct
or is not to produce an evaluation in terms of correct or incorrect subtitling from English to Spanish of
RuPaul's Drag Race, but the analysis of the different translation techniques applied to its subtitling, so
we consider the study to be qualitative.ç
Qualitative analysis consists of examining non-numerical data to identify patterns, themes and
perspectives. Qualitative research is a method used to collect non-numerical data, often exploring
complex phenomena that cannot be quantified (Stewart, Lauren. 2023).
Results
This section shows the results obtained through the application of two data collection instruments in
some chapters of different seasons of this show, through their analysis.
First, we have this instrument, which is based on the creation on a table, or document that places the
original English dialogue (in this case, an episode of the series) next to the Spanish subtitles for an easy
comparison and analysis of translation choices.
METODOLOGY
This research is based on a different articles refers to the analysis of camp talk humor. First of all, it
should be made clear that the purpose of the paper is not to produce an assessment in terms of correct
or is not to produce an evaluation in terms of correct or incorrect subtitling from English to Spanish of
RuPaul's Drag Race, but the analysis of the different translation techniques applied to its subtitling, so
we consider the study to be qualitative.ç
Qualitative analysis consists of examining non-numerical data to identify patterns, themes and
perspectives. Qualitative research is a method used to collect non-numerical data, often exploring
complex phenomena that cannot be quantified (Stewart, Lauren. 2023).
Results
This section shows the results obtained through the application of two data collection instruments in
some chapters of different seasons of this show, through their analysis.
First, we have this instrument, which is based on the creation on a table, or document that places the
original English dialogue (in this case, an episode of the series) next to the Spanish subtitles for an easy
comparison and analysis of translation choices.
pág. 6559
Episode
and time.
Original text. Spanish subtitle. Translation
strategy.
Camp/Humor
type.
Cultural
references.
S9E01, 05:30 The body is
here, bitches!
¡Aquí llega el
cuerpo,
putis!
Equivalence Body reference N/A
S6E01, 04:00 Come on season
6,let’s get
sickening!
¡Sexta
temporada,
pongámonos
sexty!
Adaptation Hyperbole, slang Drag Culture.
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S12E08,
56:15
Shantay, you
stay.
Shantay, te
quedas.
Literal translation. Catch-phrase. Show specific.
S15, 36:20 “She padded
for the Gods”
Se rellenó como
una Diosa
Cultural adaptation Religious reference Greek mythology
This table is designed to systematically analyze and compare the original English dialogue with its
Spanish subtitle translation in RuPaul's Drag Race.
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S17E01,
41:00
You know what
her favorite band
is?
What?
The Slice Girls
¿Sabes cuál es su
grupo favorito?
¿Cuál?
Las Slice Girls
Literal translation. Food-phrase. Band or musical
group
S9E10, 39:05 Sue me! ¡Demandame! Literal translation Legal term Law
Episode
and time.
Original text. Spanish subtitle. Translation
strategy.
Camp/Humor
type.
Cultural
references.
S9E01, 05:30 The body is
here, bitches!
¡Aquí llega el
cuerpo,
putis!
Equivalence Body reference N/A
S6E01, 04:00 Come on season
6,let’s get
sickening!
¡Sexta
temporada,
pongámonos
sexty!
Adaptation Hyperbole, slang Drag Culture.
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S12E08,
56:15
Shantay, you
stay.
Shantay, te
quedas.
Literal translation. Catch-phrase. Show specific.
S15, 36:20 “She padded
for the Gods”
Se rellenó como
una Diosa
Cultural adaptation Religious reference Greek mythology
This table is designed to systematically analyze and compare the original English dialogue with its
Spanish subtitle translation in RuPaul's Drag Race.
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S17E01,
41:00
You know what
her favorite band
is?
What?
The Slice Girls
¿Sabes cuál es su
grupo favorito?
¿Cuál?
Las Slice Girls
Literal translation. Food-phrase. Band or musical
group
S9E10, 39:05 Sue me! ¡Demandame! Literal translation Legal term Law
pág. 6560
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S4E01 All Stars,
56:15
You can’t spell
legendary,
without… leg.
No puedes ser
legendaria sin
piernas.
Adaptation/Literal
translation
Body Reference Word game
S11E1,
36:20
“It looks like
things just got…
eleven-dary
”
Parece que las
cosas se han
vuelto… once-
darias
Literal translation Catch-Phrase Word-Game
This instrument pretends develop a checklist of specific linguistic features of camp talk (e.g.,
exaggeration, irony, wordplay) to analyze their presence in both the original and translated versions. This
checklist is designed to systematically identify and analyze specific linguistic features of camp talk and
humor in both the original English dialogue and Spanish subtitles of RuPaul's Drag Race.
With the application of this instrument, the elements of the episode are made known in order to identify
them correctly and through their analysis make a correct subtitling.
Episode
and time.
Original text. Spanish subtitle. Translation strategy. Camp/Humor type. Cultural
references.
S4E01 All Stars,
56:15
You can’t spell
legendary,
without… leg.
No puedes ser
legendaria sin
piernas.
Adaptation/Literal
translation
Body Reference Word game
S11E1,
36:20
“It looks like
things just got…
eleven-dary
”
Parece que las
cosas se han
vuelto… once-
darias
Literal translation Catch-Phrase Word-Game
This instrument pretends develop a checklist of specific linguistic features of camp talk (e.g.,
exaggeration, irony, wordplay) to analyze their presence in both the original and translated versions. This
checklist is designed to systematically identify and analyze specific linguistic features of camp talk and
humor in both the original English dialogue and Spanish subtitles of RuPaul's Drag Race.
With the application of this instrument, the elements of the episode are made known in order to identify
them correctly and through their analysis make a correct subtitling.
pág. 6561
RPDR: S10, E1 “10s Across the Board”
Exaggeration and Hyperbole.
[ . ] Use of superlatives.
[ ] Overstatement
[ . ] Intensifiers
Wordplay and Puns
[ . ] Rhyming
[ . ] Alliteration
[ ] Malapropisms
LGBTQ+ Slang and Drag Terminology
[ . ] Drag-specific terms (e.g., "fish," "beat,"
"read")
[ . ] Ballroom culture terms (e.g., "shade," "house,"
[ . ] General LGBTQ+ slang (e.g., "tea," "wig")
Pop Culture References
[ . ] Celebrity name-dropping
[ ] Movie/TV show quotes
DISCUSSION
This research made it possible to answer the main questions and meet the overall objective, which was
to explore how humor and “camp talk” are translated and subtitled in RuPaul’s Drag Race from
English to Spanish. After analyzing different episodes and comparing the original dialogue with the
Spanish subtitles, several important insights emerged:
1. How is the show’s unique humor translated?
The humor is approached in various ways, but the most common strategies are literal translation,
adaptation, and equivalence. Some iconic phrases like “Shantay, you stay” are translated almost word
Sarcasm and Irony
[ . ] Verbal irony
[ . ] Self-deprecating humor
[ ] Mock formality
Code-Switching and Multilingual Elements
[ . ] Mixing languages (e.g., English and Spanish)
[ . ] Use of foreign phrases for effect
Interjections and Exclamations
[ . ] Camp-specific exclamations (e.g., "Yas queen!")
[ . ] Dramatic gasps or reaction
Metaphors and Similes
[ . ] Comparisons to pop culture icons
[ ] Exaggerated descriptive language
Diminutives and Honorifics
[ . ] Use of -y/-ie endings (e.g., "hunty")
[ ] Playful titles (e.g., "Miss Thing")
RPDR: S10, E1 “10s Across the Board”
Exaggeration and Hyperbole.
[ . ] Use of superlatives.
[ ] Overstatement
[ . ] Intensifiers
Wordplay and Puns
[ . ] Rhyming
[ . ] Alliteration
[ ] Malapropisms
LGBTQ+ Slang and Drag Terminology
[ . ] Drag-specific terms (e.g., "fish," "beat,"
"read")
[ . ] Ballroom culture terms (e.g., "shade," "house,"
[ . ] General LGBTQ+ slang (e.g., "tea," "wig")
Pop Culture References
[ . ] Celebrity name-dropping
[ ] Movie/TV show quotes
DISCUSSION
This research made it possible to answer the main questions and meet the overall objective, which was
to explore how humor and “camp talk” are translated and subtitled in RuPaul’s Drag Race from
English to Spanish. After analyzing different episodes and comparing the original dialogue with the
Spanish subtitles, several important insights emerged:
1. How is the show’s unique humor translated?
The humor is approached in various ways, but the most common strategies are literal translation,
adaptation, and equivalence. Some iconic phrases like “Shantay, you stay” are translated almost word
Sarcasm and Irony
[ . ] Verbal irony
[ . ] Self-deprecating humor
[ ] Mock formality
Code-Switching and Multilingual Elements
[ . ] Mixing languages (e.g., English and Spanish)
[ . ] Use of foreign phrases for effect
Interjections and Exclamations
[ . ] Camp-specific exclamations (e.g., "Yas queen!")
[ . ] Dramatic gasps or reaction
Metaphors and Similes
[ . ] Comparisons to pop culture icons
[ ] Exaggerated descriptive language
Diminutives and Honorifics
[ . ] Use of -y/-ie endings (e.g., "hunty")
[ ] Playful titles (e.g., "Miss Thing")
pág. 6562
for word, which maintains the original form, but not always its deeper meaning. In other cases, such as
“Come on season six, let’s get sickening!”, a more playful approach is used (“¡Sexta temporada,
pongámonos sexty!”), keeping the over-the-top energy and fun.
2. What translation strategies help preserve the camp tone?
Translators often try to balance faithfulness to the original with creativity. They use made-up
expressions, cultural adaptations, and local slang to reflect the spirit of camp. For instance, “The body
is here, bitches!” becomes “¡Aquí llega el cuerpo, putis!”, which keeps the cheeky and bold tone of the
original.
3. Are cultural and linguistic nuances preserved or lost?
This is probably the trickiest part. In some cases, the nuance is maintained through clever choices (“She
padded for the Gods” becomes “Se rellenó como una diosa”), preserving the exaggerated feel. But
other times, especially with puns like “You can’t spell legendary without leg”, the humor doesn’t
translate as well, and part of the meaning gets lost.
Final thoughts:
What this study shows is that subtitling RuPaul’s Drag Race isn’t just about words—it’s about context,
identity, and cultural resonance. Subtitlers face real challenges in keeping the humor, irony, and
theatricality of the original intact. Even with limitations like timing and space, you can see efforts to
bring the same energy to Spanish-speaking audiences.
Overall, I believe the objective of the study was met, and it offers a valuable reflection on what it means
to translate not just language, but identity and humor across cultures.
CONCLUSION
In conclusion, the analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race"
sheds light on the intricacies and challenges of translating humor across linguistic and cultural
boundaries. Throughout this exploration, it becomes evident that subtitling camp talk involves more
than mere linguistic translation; it requires a deep understanding of cultural nuances, wordplay, and the
dynamics of humor specific to drag culture.
Moreover, the study of humor in subtitling extends beyond "RuPaul's Drag Race" to encompass a
broader understanding of humor translation in series in general.
for word, which maintains the original form, but not always its deeper meaning. In other cases, such as
“Come on season six, let’s get sickening!”, a more playful approach is used (“¡Sexta temporada,
pongámonos sexty!”), keeping the over-the-top energy and fun.
2. What translation strategies help preserve the camp tone?
Translators often try to balance faithfulness to the original with creativity. They use made-up
expressions, cultural adaptations, and local slang to reflect the spirit of camp. For instance, “The body
is here, bitches!” becomes “¡Aquí llega el cuerpo, putis!”, which keeps the cheeky and bold tone of the
original.
3. Are cultural and linguistic nuances preserved or lost?
This is probably the trickiest part. In some cases, the nuance is maintained through clever choices (“She
padded for the Gods” becomes “Se rellenó como una diosa”), preserving the exaggerated feel. But
other times, especially with puns like “You can’t spell legendary without leg”, the humor doesn’t
translate as well, and part of the meaning gets lost.
Final thoughts:
What this study shows is that subtitling RuPaul’s Drag Race isn’t just about words—it’s about context,
identity, and cultural resonance. Subtitlers face real challenges in keeping the humor, irony, and
theatricality of the original intact. Even with limitations like timing and space, you can see efforts to
bring the same energy to Spanish-speaking audiences.
Overall, I believe the objective of the study was met, and it offers a valuable reflection on what it means
to translate not just language, but identity and humor across cultures.
CONCLUSION
In conclusion, the analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race"
sheds light on the intricacies and challenges of translating humor across linguistic and cultural
boundaries. Throughout this exploration, it becomes evident that subtitling camp talk involves more
than mere linguistic translation; it requires a deep understanding of cultural nuances, wordplay, and the
dynamics of humor specific to drag culture.
Moreover, the study of humor in subtitling extends beyond "RuPaul's Drag Race" to encompass a
broader understanding of humor translation in series in general.
pág. 6563
Humor, being highly context-dependent and culturally bound, poses significant challenges for
translators across various genres and languages. Whether it's situational comedy, wordplay, or cultural
references, translators must navigate linguistic, cultural, and audience-specific factors to ensure that
humor resonates with viewers.
In essence, the analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race"
underscores the complexity and artistry involved in humor translation. It serves as a reminder of the rich
interplay between language, culture, and humor, and the ongoing challenges faced by translators in
conveying humor across linguistic and cultural boundaries. By celebrating and preserving the essence
of humor in subtitling, we contribute to the enrichment of cross-cultural communication and
appreciation of diverse forms of humor in series and popular media.
REFERENCES.
Ávalos, F. (2019). Dubbing into Latin Spanish: A glotopolitical perspective.
Chiaro, D. (2009). Issues in audiovisual translation. En J. Munday (Ed.), The Routledge Companion to
Translation Studies (pp. 141–165). Routledge.
Díaz Cintas, J., & Remael, A. (2021). Subtitling: Concepts and practices. Routledge.
Hidalgo, L. (2021). The translation of sexual slang in teen series.
Jacinto, P. (W.D.). Feminism and drag language in the dubbing of RuPaul’s Drag Race.
Melchor, A. (2022). Camp talk translation.
Ogea, M. (2020). The translation of specialized terms with humorous effect in audiovisual text: The
scientific jokes in The Big Bang Theory.
Ortega Gomez, C. (2022). Neutral Spanish and Spanish from Spain in the dubbing and subtitling of the
U.S. series The Office. Universidad de Valladolid.
https://uvadoc.uva.es/bitstream/handle/10324/64614/TFG_F_2023_175.pdf?sequence=1
García, O. (2024). El humor y el “camp talk” en los subtitulos al español de la serie televisiva RuPaul’s
Drag Race.
Rodriguez Aguirre, E. (2015). Analysis of the humorous elements translated in the subtitling and
dubbing of American comedy series,
Humor, being highly context-dependent and culturally bound, poses significant challenges for
translators across various genres and languages. Whether it's situational comedy, wordplay, or cultural
references, translators must navigate linguistic, cultural, and audience-specific factors to ensure that
humor resonates with viewers.
In essence, the analysis of camp talk and humor in the Spanish subtitling of "RuPaul's Drag Race"
underscores the complexity and artistry involved in humor translation. It serves as a reminder of the rich
interplay between language, culture, and humor, and the ongoing challenges faced by translators in
conveying humor across linguistic and cultural boundaries. By celebrating and preserving the essence
of humor in subtitling, we contribute to the enrichment of cross-cultural communication and
appreciation of diverse forms of humor in series and popular media.
REFERENCES.
Ávalos, F. (2019). Dubbing into Latin Spanish: A glotopolitical perspective.
Chiaro, D. (2009). Issues in audiovisual translation. En J. Munday (Ed.), The Routledge Companion to
Translation Studies (pp. 141–165). Routledge.
Díaz Cintas, J., & Remael, A. (2021). Subtitling: Concepts and practices. Routledge.
Hidalgo, L. (2021). The translation of sexual slang in teen series.
Jacinto, P. (W.D.). Feminism and drag language in the dubbing of RuPaul’s Drag Race.
Melchor, A. (2022). Camp talk translation.
Ogea, M. (2020). The translation of specialized terms with humorous effect in audiovisual text: The
scientific jokes in The Big Bang Theory.
Ortega Gomez, C. (2022). Neutral Spanish and Spanish from Spain in the dubbing and subtitling of the
U.S. series The Office. Universidad de Valladolid.
https://uvadoc.uva.es/bitstream/handle/10324/64614/TFG_F_2023_175.pdf?sequence=1
García, O. (2024). El humor y el “camp talk” en los subtitulos al español de la serie televisiva RuPaul’s
Drag Race.
Rodriguez Aguirre, E. (2015). Analysis of the humorous elements translated in the subtitling and
dubbing of American comedy series,
pág. 6564
https://repositorio.ucv.edu.pe/bitstream/handle/20.500.12692/3098/Aguirre_REP-
SD.pdf?sequence=4&isAllowed=y
Stewart, L. (2023) Qualitative Research Methods.
Toda, F. (2005). Subtitling and dubbing: specialized translation.
Trujillo Y. (2021). Analysis of the subtitling of humor in the Rupaul's Drag Race
reality show.
Villanueva, A. (2019). “You better work” Camp talk features in the spanish
subtitling of Rupaul's Drag Race.
Zárate, P. (W. D.). Analysis of translation techniques in the subtitling of
RuPaul´s Drag Race.
https://repositorio.ucv.edu.pe/bitstream/handle/20.500.12692/3098/Aguirre_REP-
SD.pdf?sequence=4&isAllowed=y
Stewart, L. (2023) Qualitative Research Methods.
Toda, F. (2005). Subtitling and dubbing: specialized translation.
Trujillo Y. (2021). Analysis of the subtitling of humor in the Rupaul's Drag Race
reality show.
Villanueva, A. (2019). “You better work” Camp talk features in the spanish
subtitling of Rupaul's Drag Race.
Zárate, P. (W. D.). Analysis of translation techniques in the subtitling of
RuPaul´s Drag Race.