Sorry

Sorry it's been taking me so long to update this website. Recently, I've been going through some tough times, between finals studying and illnesses in the family. Soon, though, that will all be sorted out, and I should have the next episode review up by next Monday.

Let me just say that I am truly honored that people are actually reading my blog.

*yay*

Episode Three: The Ticket Master

In which the episodic pattern is set up and the mane plot begins to develop.

This episode is the first to set up the episode pattern that will be used throughout the series, and also the first for a number of other things. With this episode, I would like to discuss five things. First, I must discuss the classical influences in the show, namely with the chase scene. With two new (admittedly short) songs, this episode is a great chance to discuss the use of musical numbers in cartoons, from the very first. On to actual thematic evaluation, we get a great chance to evaluate the mane six's past and personality through their dreams of the future.  Also, we get to see how the creators of the show set up the characters for eventual disappointment, and how the expressing of dreams is always full of foreshadowing. Lastly, we have the obligatory job of evaluating the letter to the princess, and the thematic importance of the lesson learned.

Although the style is uniquely talented, the show draws a lot from classical influences. Namely, the chase scene is done in a style that most of you should be able to recognize from watching cartoons on Saturday morning. From the very early days of movies, back when sound was still a dream, and color even farther away, the silent film industry made easy money by speeding up a scene of characters chasing after each other, and could easily add in the slapstick that was the gold of the industry in those days. With the rise of cartoon animation, back when Mickey Mouse was first on the rise, characters continued to chase each other. With the slapstick comedy of the era having a great influence on everything, it makes since that the chase scenes were always saturated with slapstick.

As the cartoons advanced, the slapstick died down to be largely replaced with more subtle comedy, although some of the jokes were still based on slapstick, and still are today. The chase scene, in contrast, retained the same slapstick style, and was considered the gem of the early days of cartoons. Then one show appeared, an obscure show called Scooby Doo. Scooby Doo ended up becoming so popular, it set the tone for the entire industry for the last 42 years. One of the most important things it solidified was the chase scene, creating a number of important syntaxes necessary elements. One of the most influential was the background music, in which a fast, upbeat song was played to add to the slapstick style of the chase scene. Another influential element that was not included in this scene but was included later in the series was the door scene, in which characters move in and out of doors in an often inexplicable manner.

Musical numbers in cartoons date back to the very first cartoon, named Steamboat Willy. Let me assure you, if you haven't seen it yet, it's not worth seeing. Music in the cartooning industry would have a major part to play for decades, eventually climaxing in the Disney Princess era, when you couldn't be a real villain, hero, or princess without singing at least a few musical numbers.

However, with the advent of computer animation, music became a backstage thing, as cartoons tried to mimic real life. Unfortunately for those of us who enjoy musical numbers, they hardly ever happen in real life, and therefore had to be cut out of the cartoons as well. In addition, another force against the musical number was a movement to make cartoons more accessible to "normal" people above the age of ten, so that these "normal" people would be more likely to take their kids to see the movie in theaters, paying more money. Sadly, the cartoon companies viewed musical numbers as being something that "normal" people don't like.

Luckily, any show with the name "My Little Pony" can't exactly be geared towards "normal" people, giving the creators of the show a lot more leeway in what they do and do not include. Luckily for us, they did decide to go with putting in really awesome musical numbers into the show.

Music within a show has a number of handy uses. The most important one is it allows the creators to deliver far more emotion for a short amount of time. This is why songs often accompany scenes with high emotional value, such as when Pinkie Pie gets really, really excited about the gala. Another important use is to create something for the fans to rock out to.

Onto actual thematic analysis. In this episode, we get a lot of characterization from the dreams of the characters about the gala. On an obvious level, this presents the viewers with hard information about what the characters want from life. However, on a deeper level, we get a lot of valuable information from the appearance of the scene. Whenever a character dreams about the future, unlike flashbacks to the past, they cannot help but infuse them with copious amounts of emotions, in this case desire. For example, when Rarity shows her dream, it is infused with pinks and purples, colors often associated with love and romance.

Starting with the first pony to reveal her dreams, Applejack's dream creates a very interesting portrayal of the character. The money she dreams of making, she dreams of using to replace things around the farm. However, the things she wants to fix don't pertain to her, or pertain to her only because they pertain to the whole family. This shows a devotion to her family, a devotion that comes before her own desires. A symbolic object you may have missed was the chest in which Applejack puts her bits. The design of the chest, up to and including the stacking of the gold coins, is very reminiscent of the treasure chest hunted by so many pirates in the old pirate stories. This has great implications, as one might point out how if the pirate does get his treasure, it's only after great struggle and usually does not leave the character fulfilled, and if the pirate doesn't, he's still not fulfilled.

Rainbow Dash's dream is pretty much on par for Rainbow Dash, in which she dreams of joining the Wonder Bolts yet again. This routine is pretty amazing, and I do really want to see a Buccaneer Blaze. Joining the Wonder Bolts is actually a really important part of Rainbow Dash's character, as her fandom is the greatest display of loyalty I have ever scene, which is pretty important on account of how Rainbow Dash's Element of Harmony is Loyalty. However, when she does become a member of the Wonder Bolts in her dream, her tail blaze does not change to match the rest of the team, staying a rainbow. Does this represent how she will almost achieve her dreams, but is inevitably doomed to fail? Does this represent how Rainbow Dash couldn't subjugate her unique personality, even to achieve her lifelong dream? I'll let you decide...but the answer is yes.

Pinkie Pie's dream is a sugar-fueled acid trip, but what else did we really expect to see inside of Pinkie Pie's mind. While her desire to party is admirable (by which I mean awesome), this scene has a number of unrealistic details, even for a Pinkie Pie number. Streamers and confetti fall down and balloons fall up from apparently no source, highlighting how unrealistically excitement-filled this imaginary party. Also, clearly Pinkie Pie has never heard of a Gala, on account of how most Gala's don't have clowns.

Rarity's dream is full of romantic symbols. Besides the copious amounts of pink and purple, one might also note all the flowers, the hair blowing in the wind, the dancing surrounded in a large circle by onlookers, and even the marriage scene. Prince Blueblood (Pony Jesus?) sure seems a likable person in this dream, but unfortunately this is only based off of his handsome looks and stories of Prince Charming, really the only information that Rarity would have on Prince Blueblood. Unfortunately, this whole story sounds like something from the Prince Charming stories, something from the romance novels which a character like Rarity would probably read. It sure would be devastating if this weren't the case.

(Am I laying on the fact that each pony is going to be let down heavy enough yet? More on that latter. Now let's see, where was I? Oh yes...)

Fluttershy's dream is, first of all, extremely adorable. The garden is an actual thing, but that the Flora is all in bloom on the night of the Gala sounds a lot like a rumor. In addition, Fluttershy has clearly never seen a gated garden, on account of how wild and uncontrolled everything seems to be. I don't...actually have much else to say about this one except for HOW CUTE!

Twilight Sparkle's dream is the best of the six. If you don't remember this great scene, then let me just say "HOW COULD YOU?" Actually, though, you're not alone, on account of how her dream is never shown to us, and is actually kept a secret until the night of the Gala, in the season finale. Let's just assume that this is not an accident, and actually has thematic importance. Well, if we were to assume that, we could then extrapolate that this is because Twilight Sparkle cares greatly about her friends, and doesn't therefore feel like she should burden them with her thoughts and dreams. This could then point to a low self-esteem problem, which we might have to discuss again later in the series.

Whenever a character reveals there dreams of the future, they are foreshadowing. If the dream is reasonable, like getting back home and getting back to teaching students about archeology, not to mention getting rid of a certain arc that the character has been trying to get a hold on for archeology, then the character has a pretty good chance of reaching there goals. Whether or not the success of the dream is fulfilling depends on the dream's content, not reasonableness. A dream involving getting a lot of money or fame will have to either change and/or leave the character unfulfilled, on account of how these desires subjugate the human social drives and represent human flaws. In contrast, a dream which goes along with the human social drives, like saving the princess from the horrible beast (although, if this is brought down by (usually implied) sexual desire, it goes in the fame and fortune category), it will often leave the character fulfilled.

However, an unreasonable dream has a very different nature. When a character, for example, wants to be the most famest or richest, or even just wants to sell a massive amount of apple-based snacks or court a Prince Charming, this dream can become a foreshadowing of future disappointment. This is one reason why most villains are doomed to failure. Note that the difference between a reasonable dream and an unreasonable one is often only in the gut, as a dream (such as to be the very best, like no one ever was) may seem reasonable in one story and not in another.

Now, to examine the thematic importance of the letter to the princess. For those of you who don't remember, this was the letter:

Dear Princess Celestia, I have learned that one of the joys of friendship is sharing you're blessings, but when there's not enough blessings to go around, having more than your friends can make you feel pretty awful. So, though I appreciate the invitation, I will be returning both tickets to the Grand Galloping Gala. If my friends can't all go, I don't want to go either.

WOW! That was, to say the least, unexpected. The thematic value of this shows just how much Twilight Sparkle has grown to depend on her friendship with her friends, to the point where them being sad makes her sad as well. This emotional connection is the most important part of friendship, showing great character development already.

[Credits Song]

For you who didn't notice, when Rainbow Dash is talking to Twilight Sparkle from the hole in the sky, they drop a Monty Python and the Quest for the Holy Grail reference.

Episodes One and Two: The Mare in the Moon

And so a legacy was born.

With this episode, I would like to focus on three topics. First, this episode, as well as the series, can be understand best through the lens of archetypes, an idea first espoused by Carl Jung. In addition, this episode sets up a number of motifs, which provide plenty of material for discussion. As with all motifs, understanding them creates knew insights into the series. Lastly, and possible most importantly, I would like to force you to sit through a short discourse on magic, as well as the vitally important thematic message held within the title.

Archetypes, as described by Carl Jung, are universally understandable characters, sequences, colors, or images, which each have their individual associations. For example, the color black is identified with evil, darkness, and corruption.

However, within the terms of this show, the most important archetypes are character archetypes. Each of the six mane character represents a standard archetype, and has a counter-character that represents the opposite.

Twilight Sparkle represents the archetype of the studious researcher, who subjugates all other personal desires and creates powerful inhibitions in order to continue research and accumulate knowledge. This can be seen even in her appearance, notably her hair, which one might note is brushed perfectly strait, and her normally calm, even voice. Her mane is purple, a color long associated with knowledge and power, two things which these episodes set her up as having.

Often to the initial disappointment of the character, a studious researcher archetype is doomed to character development. Archetypes are so universally identifiable because they represent something within all of us, and unfortunately for the researcher archetype, she represents a failing. Humans are, above else, social creatures, and the destruction of these social desires is seen as a human failing. Such a failing is part of the menace of the lich, a creature who was once human, but subjugated the most human part of itself for its research: its ability to die. As all archetypes that represent a human shortcoming, both must be changed into a purer form. For the lich, this means death and damnation, because a lich cannot be saved. However, Twilight Sparkle can be changed, and as such learns the value of friendship.

Indeed, Twilight Sparkle is analogous of the "Gygaxian" wizard, as first created in the Dungeons & Dragons roleplaying game. A compilation of the Tolkien wizard and the "Vancian" wizard from the Dying Earth series and similar stories, the "Gygaxian" wizard is different because it begins the story as a withdrawn figure, seemingly doomed to be lost among books, but eventually must come to open up to the party, and thereby learn the magic of friendship.

This largely developed from the fact that if the wizard of the party failed to work with the fighter, protector of the weaker party members, and the cleric, the party healer, they would die extremely quick. A wizard would usually have no more than 4 or 5 hit points at first level, not advance in hit points or defenses quickly at all, and was extremely easy to hit and kill. Still, that doesn't mean that the thematic influence is any less important.

As stated earlier, each character has an opposite, a counter-character. For Twilight, the intelligent but socially cold researcher, is Pinkie Pie, the inhibitionless, excitable party pony. From her cutie mark to her color, everything about this pony says FUN! Also, Pinkie Pie, as a crazy character, is the only pony with the ability to access things like hammer-space, the ability to hold things in spaces they shouldn't belong, and teleportation to the most humorous locations available.

Besides being enjoyable to watch, having this lovable partier archetype presents an interesting situation. Should anything negative happen to Pinkie Pie, the viewer will enter a depression. Characters like Pinkie Pie are considered "comic relief", because they're hilarious characters used to diffuse overly emotional scenes. This allows the other characters to draw up more emotion without being accused of overacting. However, when something bad happens to the comic relief, the viewer becomes depressed. The reason for this is that the comic relief archetype is representative of all things good and lovable about the world. Without the character, a darker shade falls over all the scenes she would otherwise be in, and does an excellent job of creating a sense of depression in the viewer.

Applejack is a very interesting archetype: the farmer archetype. The farmer archetype is often suspicious, but is also often the most reliable, honest character. This archetype is represented in her profession, but also goes deeper than that. For example, orange, the color of Applejack's fur, is archetypal for stability and a certain reliability.

The farmer archetype is actually one of the oldest archetypes. The first step upon the path of creating a sociology complex enough to contain universal archetypes is agriculture, the ability to stably and safely produce enough food for everyone without having to employ everyone in the production of food. Whenever a society experiences an agricultural revolution, it is often followed by a cultural revolution, as a large spike of new thinkers is introduced into the cultural pool. Eventually, these thinkers are absorbed into the middle class, and carry their ideals throughout a culture.

Applejack's counter-character is Rarity. Rarity, a pompous fashion designer, is a form of the cultured aristocrat archetype, a form stuck in (and dissatisfied by) a small town and/or rural environment. Much like Twilight, Rarity is doomed to character change from the very beginning. A viewer simply cannot stand the idea of a pompous aristocrat for too long, because the pompous attitude is considered to be a failing of the human social drive, the core of all archetype development. That's why books like Pride and Prejudice

One might note that their are other cultured aristocrat archetypes, but they tend to not make likable characters. However, one royal archetype that is likable is that of the benevolent ruler, found in Princess Celestia. Another archetype that is used, the counter character to Princess Celestia, is the malevolent ruler, embodied in Nightmare Moon. The malevolent ruler is also almost exclusively an autocrat.

The heroic sports archetype is claimed by Rainbow Dash. As with all characters in her archetype, Rainbow Dash represents the desire to succeed, a universal desire. We root for her to succeed at her sports and feels bad when she fails because she is such a noble character. The most accurate counter-character to Rainbow Dash would be the devious sports archetype, a character who cheats at sports and competitions to win. The viewer finds himself rooting against the character, and we rejoice at the character's failures. While the heroic sports archetype represents a competitive drive tempered by a moral code, the devious sports archetype represents a competitive drive that has grown too strong and overridden the moral code, the "superego".

The heroic sports character is originally based off of the knight in shining armor archetype. With the death of chivalry during the Hundred Year's War, people couldn't put the same moral bravery into soldiers, who came to represent different things. In order to mend this, people turned to the next most violent yet justifiable thing: sports. Over time, the knight in shining armor became the sports player in your colors. This competition element grew with the rise of nationalism, which split people along country, "state", and town lines. The devious sports archetype grew out of the evil knight, who had subjugated the moral code for success, in this case military success and power over others.

The protagonist counter-character of the bold sports archetype, and therefore Rainbow Dash, is the shy gentle archetype, impersoned in Fluttershy. Fluttershy represents shyness, which is yet another failure of the human social drive. As such, Fluttershy is doomed to character change, character change that will make her a more outgoing character. Unlike Twilight Sparkle and Rarity's character change, this character change must take place over a far longer amount of time, because if it goes too fast we miss the important value of having a shy character at all.

The number one benefit of putting a shy character into the series is that shyness is connected with vulnerability. Seeing ourselves in Fluttershy, we connect with her on an emotional level, and therefore open our emotions up. When Fluttershy succeeds, we feel wonderful, because we see ourselves succeeding. However, when Fluttershy is hurt, we feel hurt, because we see in it ourselves getting hurt.

Motifs are much like archetypes, and often archetypes are used as motifs. A motif is a property, like a color, or a thing, like a location, that has a specific meaning within the context of the show (or book, or play). There are two motifs that stand alone in this show that I would like to discuss, namely stars and rainbows. Many motifs can only be fully understood in their opposite, as they represent opposites of each other. The two pairs I want to discuss are day and night, and Equestria and the Everfree Forest.

Stars are an important and often overlooked archetype in this show. However, they have the greatest impact within this episode. The Elements of Harmony are presented in the introductory story as gems embedded in stars, in a pattern that is almost exactly the same as the pattern on Twilight Sparkle's cutie mark, a single star surrounded by five smaller stars. The stars represent the effects of friendship, as they hang in the night sky as the only thing in opposition to the moon, a symbol connected with Nightmare Moon, who represents the power of hatred. Note that the magic of friendship overcomes the magic of hatred, and in doing so becomes even more powerful, just as the stars shine more brightly when the moon is not in the sky.

One might note that the stars come into importance at one other time in the series. On the longest day of the thousandth year, the stars allow Nightmare Moon to escape from the moon. What, or more accurately who, these stars represent is still under question, and will hopefully be revealed later in the show.

A rainbow in the series represents an immensely powerful discharge of energy. When the ponies use the elements of harmony, it creates a rainbow to destroy Nightmare Moon, and when Rainbow Dash pulls off a sonic rainbow later the series, it is a sonic boom, a large blast of energy, accompanied by a rainbow. Rainbow Dash's mane is colored in a Rainbow, and represents the amazing speed and sharp turns she manages to pull off, which require amazing amounts of energy.

Rainbow Dash's mane has nothing to do with her sexuality. In fact, her sexuality is not important. If I ever tell you that Rainbow Dash is lesbian, unless this has been set up in the show, you will know that I've been killed and replaced.

Day and night, light and dark, sun and moon, are all part of a pair of motifs. This ancient archetypal motifs represents good and evil, and for good reason. When the sun is out, one can see, and plants grow. However, most crops will wither and die without sunlight, and the shadows of night are often indistinguishable from evil things trying to kill and eat us. For example, while Nightmare Moon's design is full of black, the only black on Princess Luna's design is her eyes.

Equestria and Everfree Forest are an interesting dichotomy with interesting social and political implications. Equestria is represented as a place with "harmony for all the land", while the Everfree Forest is considered to be "dreadful" and not "natural". However, the harmony is put in place by the royalty, especially Princess Celestia and, to a smaller degree, Princess Luna. The rule of Princess Celestia is notably like that of an enlightened ruler. She tells people how things are and are not, and expects complete deference from her subjects. While she is unlikely to meddle in the matters of others, preferring to watch and collect information, she will act with surprising harshness when challenged. One example of her style of rule is that the only book that contains the fact that Nightmare Moon is about to escape is Predictions and Prophecies. The book she's reading when the story begins tells that Nightmare Moon was banished permanently. The idea that rulers should use knowledge that is hidden from the people was believed in by the Enlightenment philosophes.

In contrast, the Everfree Forest has people who do everything by themselves. This system represents anarchy. Instead of being ruled through an extensive bureaucracy, like the plants and animals are controlled by the ponies in Equestria, the plants and animals in the Everfree Forest fight for the power and right to exist. By setting up this dichotomy, the creators of the show seem to state that the only alternative to anarchy is a enlightened monarchy.

Magic is another motif, connected with hatred and friendship. Gary Gygax, besides revolutionizing the gaming genre, also set up a systematic organization of active magic. Active magic can be organized into three categories: inherent magic, divine magic, and arcane magic.

Inherent magic is the magic that recides within someone because of their species. This exists in the show, as all unicorns are able to use a small degree of telekinesis, usually related to their cutie mark.

Divine magic is magic that is derived from the blessing of a higher power, essentially magic installed in peopleonies from a god or demon's inherent magic. Divine magic is not really an issue in this show, because nopony has magic given to them from blessings.

Arcane magic is magic that must be studied or taught in order to use and control. In this show, very few ponies have arcane magic. In fact, the only ponies with arcane magic are Twilight Sparkle and Trixie. Twilight's magic is fueled by friendship, and therefore becomes far more powerful. More on that later.

People who are familiar with the works of Gary Gygax would incorrectly try to correct me on two points. If you really couldn't care less for arguments on the semantics of a game you may never even have played or even heard of, scroll down past the next two paragraphs. First, arcane magic does not have to come from study, they would say. They would say that sorcerers and warlocks also use arcane magic. I would tell them that the reasons for this are to create a sensible and easy to explain gaming experience. Sorcerers should be using inherent magic, but the designers didn't have the time or money to design inherent magic in addition to divine and arcane magic. Warlocks should be using divine magic, but the designers wanted to separate the powers granted by gods and by demons to create different encounters. A group of players wouldn't want to fight both an evil cleric and warlock if they have the same spells, so to prevent too much spell overlap, the designers made warlocks use divine magic.

The same people would rule that psychic magic is a fourth category, separate from the other three. To that, I would tell them that psychic characters should be using inherent magic, seeing as how it comes from their lineage, but since inherent magic was never laid out like divine and arcane magic, they couldn't go back on this without people wondering why sorcerers use arcane magic. Psychic magic is just inherent magic set up in spell form. I would then kindly but forcefully ask them to leave.

Welcome back, everyone who skipped the last two paragraphs!

These categories describe active magic, magic with a definable source. Active magic tends to do things like defy gravity and teleport people and things places. However, it's opposite is destiny, fate. For this blog, I will be using the term latent magic to describe such magic. Humans feel a natural desire to discover the source of things, and therefore latent magic was replaced in legends with the works of gods, and later explained by science.

Latent magic has importance, however, in explaining the implications of the statement friendship is magic.

Twilight can draw magic from her friendship, making her spells more powerful. However, the inverse effect can also happen, but not active magic. Friendship itself is formed of magic, but more specifically latent magic. In other words, the people you are friends with are the people you are destined to be friends with.

That is the true friendship of magic.

The Great and Powerful Introduction

Eventually this blog will be used to publish episode over-analysis, but first I would like to discuss the show itself.

More importantly, I would like to discuss a question my friend asked me soon after my discovering the show:

[Incredulous Voice]"MY LITTLE PONY? You want me to watch My Little Pony? You do realize that we're sixteen-year-old guys and not six-year-old girls?"

He then stripped me of my man card.

I tried to explain to him how beautiful of a show it was, how Lauren Faust is the Shakespeare of modern cartoon animation. Somehow though, there was a disconnect, a bridge I couldn't cross. One could say that there was a language barrier. I was talking about how beautiful and cute and well written this cartoon animation was, but all he could hear was: MY LITTLE PONY!

Since then I looked into what separated people like him and people like me. While I understand that many of the bronies are women, a lot of us are men as well. Quite frankly, a disproportionately large amount. So what is it that allowed me to enjoy the friendship found by my little ponies, while my close friends all recoiled in horror?

The most obvious thing that separates us from the neighsayers (besides the fact that they don't like My Little Pony: Friendship is Magic) is that we're pretty open to this kind of thing, or just weird things in general. You have to be in order to watch and appreciate a show like this. It's not exactly something that the kids these days would consider to be "funky" or "poppin".

I'll admit, I originally hail from the dark waters of 4chan, a place I have long since disavowed. One day, while lurking on 4chan, I found a thread talking about some show called My Little Pony: Friendship is Magic. As originally stated by this brony: http://www.youtube.com/watch?v=WRsVGQv_13k&feature=player_embedded, there are five stages of Brony-dom.

At first I was in denial: God, these people are weird even for 4chan. Although, I gotta admit that is some really good artwork...

Then I was angry: Man, these people are all hating (already, the virus was setting in, I was annoyed by hatred) over some stupid show?

Soon, I was in bargaining: Well, maybe they should be hated on, but I better watch the first episode first.

Well, suffice it to say that I shot strait past depression into acceptance. Well, more of a pony-induced nirvana. I had found a show that was simply amazing, and I wanted to spread happiness and cheer and rainbows to all of my friends...after another episode, of course. And so I found my way into a community based on love and tolerance. Somehow, I had found a calm island in the middle of the s*** storm that is the internet.

Luckily, I have almost no self-respect. It has its advantages, including that I was never shamed by watching this show. Now, I'm not saying that people who watch this show have no self-respect, in fact I would say that the 4chan-ers who knocked the show have no self-respect.

However, I am willing to say that many of the people who watch the show have a fair amount of...call it disillusionment, if you'll let me use a "literary" term. Many of us find that the real world is full of hate, full of disappointment, full of failure. It does us good to watch this show, because it proves that maybe, just maybe, there is some good in the world, and that sometimes, friendship truly is magic.

Sethisto over on equestriadaily.com recently ran a poll. The question was,

Trixie offers to turn you into a pony and teleport you to ponyville. There is no going back. Do you do it!?

At first I thought, "no way, I've got way too much going on for me here." And then I thought, and thought, and thought, and I realized that I really don't. I'm an average student, no extracurriculars, feel awkward to the point of isolation around more than two or at most three people, have a frail sickly body, not to mention more than my fair share of psychological problems. So I voted yes.

Yes, I would leave my entire life behind, if in exchange I could go to ponyville and become a pony.

Now, not everyone would do this. 74% of the voters would, however, and I thank that that's what drives us to the show. We love the show because it is such a contrast to what we see. We can escape.

That's what this show would be called: escapist fare. Means that we watch it to escape the darkness of reality.

It will be a while before I can get any actual reviews up, but once July rolls around I should be able to put out two or three a week.

You can contact me at coppertoken@derpymail.org.