#if my little pony was rewritten as an adults show it would be so good

[ethan-acfan]

When excellent writing and complex characters are horribly water down because it's technically a kids show😔

[tygerbug]

BARBIE (2023) - Toward the end of writer-director Greta Gerwig's Barbie, America Ferrara (as Gloria) gives a speech about the tightrope that women must walk, the impossible and contradictory standards that a woman must navigate in order to be taken seriously in society and seen as a person. It is an overtly feminist moment but also serves as a metaphor for the film itself, which has to balance very contradictory tones in order to please several very different and contradictory audiences and owners. Is Barbie a fish-out-of-water comedy about two fashion dolls traveling to the real world? Is it a serious feminist statement about growing up in a patriarchy which does not value women enough? Is it Blade Runner? Is it a toy commercial? As Will Ferrell's character might say, "Yes." It is all of these things and a lot more, and in the hands of a less capable director that would have been a bigger problem than it is.

Like Barbie herself, Barbie the movie is expected to be everything all at once, to all people. Some of the things this movie is expected to be contradict each other pretty heavily. The film is trying to do a lot, and there's a lot of evidence of roads not taken. So much is unexplained or left hanging, and so much of what happens is silly and frivolous. This is a very smartly-made movie, which at times seems very dumb or makes dumb decisions, partly because what it's trying to accomplish as a film is nearly impossible.

It is possible to imagine a better version of this film, one which explains itself better, leaves less characters unexplored, leaves less plot threads hanging, goes to darker places, and does not make so many compromises. But I can't imagine that film getting funded as a $145 million toy commercial from Mattel, with an extra $150 million spent on marketing. Under the circumstances it's impressive that the film is as good as it is. That imaginary version of the film would be more coherent, and probably Oscar-worthy, but you'd have to call it "Malibu Stacy" or something, as The Simpsons did, and it wouldn't be one of the biggest hits of this year. What we have instead is a very complicated gymnastics act to satisfy many different audiences and the demands of corporate capitalism. The film sticks the landing, and comes out of all this looking as beautiful as a doll-sized Margot Robbie. But it's also full of moments which are out of place, underwritten, confusing and weird, like a doll-sized Kate McKinnon.

The toy company Mattel has been trying to get into the movie business for some time, as Hasbro already did with "Transformers" and "My Little Pony," among others. They've been trying to crack the code of a Barbie movie for adults for years. (And apart from Barbie, the idea of Mattel getting into movies is mostly a bad idea.) At Sony, up until 2017, Diablo Cody was writing a more ironic, deconstructionist version to star Amy Schumer, as a Barbie who didn't fit in. (Cody has said that the more traditional Barbie was not seen as feminist enough at the time, and that they struggled with comparisons to The Lego Movie.) Anne Hathaway was attached to a version written by Olivia Milch (Ocean's 8) until the project reverted to Mattel, and moved ahead at Warner Bros.

Greta Gerwig's Barbie feels like a film rewritten over the scattered corpse of a worse film, or many possible worse films. It walks the tightrope of being both an ironic deconstruction of the character, and an unironic celebration of Barbie which shows her in the best possible light. This film has a lot to say about Barbie's place in pop culture, as an ideal that little girls want to be like, which also saddles them with unrealistic expectations that can be very harmful. Since this film is also a toy commercial by Mattel, Barbie the movie can't interrogate these issues too negatively, but it goes farther than you'd think. It starts a conversation about what Barbie has meant to girls and women since 1959, which gives the film much of its meaning. The film raises some basic questions that it's not actually allowed to answer, while ignoring others. The chaotic script feels like the product of extended battles with Mattel, where the filmmakers are allowed to say certain things, and get away with certain things, only in specific scenes and in specific contexts.

Consider the rebellious teenager Sasha, as she meets Barbie for the first time. Sasha believes this is just a woman pretending to be Barbie, or that this is a crazy woman believing herself to be Barbie. Sasha and her entire friend group unload on Barbie about the negative effects that Barbie has had on society, to the point of calling her a fascist, without quite explaining why. This is a strange scene, because they've just met this woman and have very little reason to see her as "the real Barbie," or a representation of Barbie. They have barely been provoked to unload on Barbie like this, and we don't really hear this kind of talk from Sasha (or the movie) afterward. But the scene is written this way because that's where Sasha and Barbie are, at this point, as characters, and so this is the scene where Sasha is allowed to say these things, and where by extension Greta Gerwig is allowed to raise these questions, without openly agreeing or disagreeing with them. By the end of the film, Sasha will be saying stuff like "Barbie, you got this!"

Or consider Will Ferrell, as an executive in charge at Mattel. While we meet him in the "real world," he is a whimsical and comedic character, whose motivations are concealed behind several layers of irony. We are supposed to read him as "a Will Ferrell character," perhaps identical to his character in The Lego Movie (something that Barbie was compared to often, in development). He could also be Buddy the Elf from Elf, or George W. Bush from SNL. We know who this characters is, because he's played by Will Ferrell, but it would be very hard to explain his character otherwise. That's because this character has been forced into an impossible position, and gets around it by being several contradictory things at once. Will Ferrell, vaguely, occupies the space of an antagonist or villain for this film. He represents the real-world corporate patriarchy that Barbie is really struggling against, and his ostensible goal is to capture Barbie and restore her to factory settings. But he also represents Mattel, in a movie produced by Mattel, so at no point can he actually be the villain. Will Ferrell coats the role in several layers of irony and comedic schtick that make him hard to pin down. He plays the role with a wink. When his men are chasing Barbie, he is doing schtick rather than seriously trying to capture her. He forgets or changes his motivations quickly, while still pursuing Barbie, and most of his lines afterward are about how he's a nice guy really, and the son of a mother. He does that with a wink too, making his character hard to explain generally. He occupies the general space of a villain or antagonist, but also has to assure you that this is not the case in any serious sense. The daftness of the character papers over any holes in the story by assuring you it doesn't matter.

This is equally true late on, for the exact same reasons, when (spoiler alert) Barbie struggles with the Kens. The Kens can't actually be the villain in any serious sense, despite the serious real-world threat they represent, because this is a toy commercial for Barbie and Ken. When the Kens go to war, it needs to be as serious as possible, and as silly as possible, at the exact same time. Tonally, this film always needs to do everything backwards in high heels. It's a tough tone to hit. Ryan Gosling distinguishes himself as Ken, whose job is just "Beach." Gosling must convince us that he's both the generic, harmless (and stupid) Ken doll, and a character with much deeper psychological issues that he's working through, without the one overshadowing the other. Ken becomes a cautionary tale about how someone who is missing something in his life can easily become radicalized into something much darker, but not to the extent that he is irredeemable and can't be Ken anymore. This is a film which puts its actors in a very contradictory position when it asks anything of them, although the other Kens and Barbies are not explored deeply as characters. The film must have it both ways. It tackles toxic masculinity in a way which is both deeply serious and unserious. There is a very cutting remark, at one point, about a recent superhero film, which must only have been allowed because Warner Bros also owns that film, and which could also be very loosely interpreted as saying it appeals to its desired demographic. At one point in the film, Ken tries to figure out the rules of the Real World, and whether the opportunities he wants can simply be given to him. This opens a few questions about the many layers of societal gatekeeping - of wealth, class, race and so on - which makes opportunities harder to attain for the unconnected. Unfortunately these are also questions that are well beyond the scope of this movie. Despite a diverse cast, race and sexuality don't enter into this as themes.

Another thing the film doesn't- and can't- mention is that Barbie was not an original creation of Ruth Handler, but was based on the German "Lilli" doll, based on a sexy comic strip for adult men. The doll caught the attention of little girls precisely because it wasn't initially meant for them. As Helen Mirren's narrator notes, Barbie seemed much more exciting than dolls of little babies. She seemed to open up a world of adult possibilities, precisely because she was originally an adult fantasy. Ruth Handler is played here by Rhea Perlman, with probably a bit less gravitas than the role calls for, although she gets in a few good joke lines about Ruth Handler's real-world issues with financial fraud, yet another thing I'm surprised Gerwig got away with referencing here. (The contributions of Jack Ryan, and his troubled personal life, are not referenced.)

Margot Robbie holds the movie together as Barbie, also known as "stereotypical Barbie," the Barbie you think of when you think "Barbie." While there is a diverse cast of Barbies and Kens played by familiar faces, they're not cast to be "Barbie and Ken" in the way that Robbie and Gosling are. At one point in the film, at Ken's urging, a Nobel Prize in Horses is given out. For her part, Robbie seems to be trying to win an Academy Award in Barbie. Once again, this role carries a lot of contradictory expectations with it. We all know about Barbie, and her perfect, silly, fake little world, where everything is pink and plastic, and about 23% too small. Robbie gets laughs by parodying the doll Barbie, but also embodying her unironically as if it's the role of a lifetime. This is a silly, frivolous, comedic character, which also requires extremely serious dramatic acting, and the one side informs the other. This is both the fashion doll "Barbie," and a real person who is having a nervous breakdown, either because she's becoming a real person, or for other reasons which are only barely explained, and arguably outside the scope of this film. (America Ferrara's "crazy drawings" and parental angst are only hinted at, as is whatever magic connects Barbie to Mattel.) Margot is good enough as an actress that you never question it. She brings some serious drama to scenes which aren't otherwise filmed like serious drama. It is also fun to see Barbie wear all her little outfits, an energy which she also brought to the worldwide premieres of the film, with a different Barbie outfit at each event. I believe the SAG-AFTRA strike meant that we missed out on some of her final Barbie looks, and this thought will haunt me. Margot Robbie fulfills one of the requirements for playing Barbie in a film like this, which is that you should be a little too attractive to be playing someone as bland as Barbie. This is something that Mattel understood when they turned the adult property "Lilli" into the kids property "Barbie." Even Helen Mirren's narration points out, at one point, that Margot Robbie has difficulty playing Barbie as "ugly," even when "ugly crying." She has no such difficulty playing Barbie as a cultural monolith, or with a wink as she floats downstairs as a Barbie girl in a Barbie world.

That song, Barbie Girl by Aqua, parodied the character in a way which got them sued by Mattel, and which would still be inappropriate in this film if played in full. But audiences would also notice if it wasn't played, so once again the film is put in an impossible position, and tries to have it both ways. So the end credits have a song which features portions of "Barbie Girl." The intro also features Lizzo, discussing Barbie's pink world in a way which gives it a little more street cred. And there's a sad ballad by Billie Eilish which better reflects Barbie's identity crisis- and the film's.

I wasn't left wanting more- the film does not call for a sequel- but I was left wanting more clarity on what we got. What have we really achieved, at the end, for the Barbies and Kens, and does it matter? What have we achieved in the real world, and does it matter? Does this journey only really matter for Barbie herself? What does it even mean to have Barbie in the real world? Okay, that's better left unexplained, probably. Like most of our journeys it's about growing up, learning how the world works, and realizing you actually can't go back home again. Even Barbie never really had a choice. The connection between the real world and Barbie world is probably best left unexplained, although the transition is handled well with rear-projection backgrounds. it does raise the question of how "real" Will Ferrell's character even is, as he acts almost like an escaped Ken. How "real" is the real world when it also has magical elements and exaggerated characters? What is Barbie's connection to the ghost of Ruth Handler, who only sort of created Barbie anyway? Why is "Barb" from "Barb and Star" here? Is that to make the movie more "Barb"-y?

At one point an FBI agent calls in, tracking Barbie. This is never mentioned again- I believe that those tracking Barbie afterward are Mattel employees, and not a lot of them. Is Gloria connected to our Barbie because she works at Mattel, and played with a discarded Barbie? Were her "weird drawings" really all that weird? Can we assume that the Barbies reflect the dreams of the girls playing with them, including a doctor played by trans actress Hari Nef, and a President played by Issa Rae? Wouldn't there be a lot of Barbie Lands in that case, with this little town just standing in for all of them? That sounds too complicated. Does it matter?

If this is a current Barbie lineup, without "discontinued" dolls, why are the retro pair of pregnant Midge and rainbow-shirted Allan present? We never see them together either, so what is Allan? Is "Allan" its own gender entirely? What would it mean to be Allan-gender? (Allan appears to be, simply, Michael Cera, no more and no less.) What is Allan's motivation? Is it enough to say that "Allan is Ken's Buddy" and that "all of Ken's clothes fit him?" Probably! Would it fix the Kens' problems if they figured out whether any of this is a gay thing, or not? Is "Weird Barbie" (Kate McKinnon) a gay thing? Isn't she "weirder" in the real world than she is in the "Barbie world?"

I believe we never hear about Skipper, Barbie's younger sister, in the film until hearing that a Skipper once escaped into the real world. Two Skippers, including the bizarre "Growing Up Skipper" (with growing bust) appear as discontinued Barbies later. It is clearer, for this film's purposes, to just refer to a lot of Barbies and Kens when setting up this world. But I'll bet there was a draft setting up Skipper. There have been a lot of animated Barbie movies where Barbie has a family and other continuity, but this film is more interested in a personal experience of Barbie rather than any of that corporate lore. I've heard that some of the animated Barbie Dreamhouse content is jokey and meta.

Basically none of the male characters have motivations that make very much sense or are explored in any detail, which I think was a good choice on the director's part.

And that's just the stuff that seems to matter, until it doesn't, like the entire plot. There are a lot of throwaway moments and details which will make you say, that was kind of weird. Or, I have questions about that.

There's a few jokes in the film about "guy movies," and it seems significant that Christopher Nolan's Oppenheimer, which was originally tracking to open to much smaller audiences than Barbie, has been very successful in piggybacking off of Barbie as a double feature. For one thing, this is Ken behavior. For another, the online reaction was sometimes very toxic. People excited about going to see Barbie on social media were often harassed with all kinds of slurs. Even by itself this supports the very basic point about what women have to put up with. The opening was a huge success for both films, with Barbie surpassing $200 million and Oppenheimer crossing $100 million between Thursday and Tuesday or so, opening weekend.

I was reminded of how Barbie's trailer sets this movie up as really something special, which the movie itself delivers on. The movie has something to say about Barbie, and about the world we live in. It's visually beautiful and funny. It calls back to classic films of the 20th century, such as 2001: A Space Odyssey, Grease, golden-age musicals, The Matrix, The Wizard of Oz, and the work of Jacques Tati. When I saw Barbie, on the big screen, it was preceded by some of the worst movie trailers I've seen in my life. Often movies based on toys and familiar IP, with nothing interesting to say, saying it in the most obnoxious way possible.

Barbie is a silly toy commercial comedy that also manages to, for the most part, be a meaningful piece of cinema with something to say, crafted masterfully by the director. It does what a "guy's movie" would do backward in heels, making an impossible situation seem relatively effortless. There are things that this movie does not accomplish, but under the circumstances I wouldn't expect it to. Barbie is a concept by which we may measure ourselves, if we so choose. It is the start of a conversation, asking questions that it is not at all prepared to answer. For the Barbies and Kens, nothing needs to be resolved. For us in the real world, nothing ever can be. Barbie does not have the answers. In its desire to please many different kinds of audiences, as well as its corporate masters at Mattel and Warner Bros, there is something inevitably missing at the heart of the film. This Barbie is a gorgeous piece of plastic, but it is also, in the end, inevitably hollow. And in that missing space in the middle, it is inevitable that audience members will insert themselves. That is true whether you see yourself as a Barbie, a Ken, a Gloria, a Sasha, a Greta, whatever Allan is, or something else entirely. This Barbie has more personality than other Barbies have, and I think this movie could be very meaningful to people, but that's going to depend on what they, personally, are bringing to this movie as viewers. I hope, in the end, you too realize that you are Kenough. More reviews: https://letterboxd.com/garrettgilchrst/films/reviews/by/release/

[ponett]

Welp... it’s over. After nine years, My Little Pony: Friendship is Magic is over. I just got done watching the series finale with Anthony and, just like I knew I would, when the credits rolled, I cried my eyes out

I should probably say something, huh. I’ve been sharing thoughts like this mostly on Twitter lately, but I started using Tumblr to blog about MLP, so I don’t think it would be right to post this anywhere else

I have a complicated relationship with MLP:FiM. It’s a show that got really hit or miss after the second season, and it has a fandom so toxic and so full of edgy libertarians that it scared me off from formally participating in fandoms for the rest of my life. But it’s also probably my favorite TV show of all time. There are other shows that are much better written, that have more to say, that are more consistent, even including several other cartoons from the same decade. But I think I’d be lying to myself if I said it wasn’t my favorite show

No other piece of media has had as massive of an impact on my life as My Little Pony

I grew closer to some of my closest high school friends because of our shared enthusiasm for the show. I started PonyPokey with Jake and Derek and made a bunch of bad videos and got invited to be on a wildly disorganized BronyCon panel with Jenny Nicholson in 2012. (We went on stage immediately after Lauren Faust’s panel. I barely said a word due to stage fright.)

After years of being too afraid to share my art online, I started putting more effort into learning digital art so that I could draw ponies. It started out rough, but with the drive to improve, I quickly got better. I started Fluttershy Replies. For the first time, I had an audience. I had people who cared about my work and supported me. Even as times have changed, many of you have been following me since way back then

Around the time I came out as bi in 2012, I got really into MLP shipping. Writing sappy comics and drawing sappy art became an outlet for my years of pent up feelings, and helped me sort out a lot of stuff. My Little Pony also completely changed the views on femininity that had been beaten into my skull since childhood. Suddenly, it wasn’t this strange, alien thing to be afraid of. MLP, at its heart, is a show about how there’s no wrong way to be a girl. That’s an incredibly powerful message. Rarity wasn’t a vapid snob. Fluttershy wasn’t a background character who got made into the butt of the joke. Pinkie wasn’t a ditz. These were characters written to be empathized with. And writing about my own feelings from the perspective of Fluttershy felt... right. It took me a few years to fully process those feelings, but eventually, I realized the truth. I was a trans woman. And a cartoon about horses was the first step on my path to realizing this

In 2013, one of the roughest years of my life, I decided to download RPG Maker on a whim to give myself a distraction. Naturally, my first instinct was to make a game where Fluttershy and Rainbow Dash kiss. What was initially supposed to be a short, Fantastic Game-esque playground of silly little jokes spiraled out of control and became Super Lesbian Horse RPG, a game that I poured my heart and soul into over the course of a year. And then, a couple years later, my desire to preserve the ideas from my copyright-infringing fangame also spiraled out of control, as all my creative projects do, and became SLHRPG’s successor: Super Lesbian Animal RPG. SLARPG isn’t really a reskinned MLP fangame anymore--it’s more like a new game inspired in part by my old project. The story has been drastically rewritten, the characters changed, the levels and gameplay redesigned. Most of the cast of the new game wasn’t in the original project in any form. There’s much, much, much, much, much more new content than old left in the game. And the original game had already strayed so far from the canon anyway. But I’m also not sure it would exist without MLP

I made a bunch of friends online, including close friends I still have to this day. I met the people like Bee and Thomas who I’m still working with on SLARPG. Most importantly, because we both blogged about MLP and had some mutual friends, I met Anthony, the love of my life. We’ve been together for five years now and supported each other through good times and bad. This is the lamest, corniest, stupidest thing I will ever say in my life, but he’s the Rainbow Dash to my Fluttershy

...

So what about the finale itself? (spoilers, obviously)

I have... mixed feelings on the finale. There were some things that really annoyed me in there. But also, like I said, I cried, so I think it’s safe to say they did good overall

I think the thing that stuck in my craw the most was Discord. Which I guess shouldn’t be surprising. I’ve been saying for years now how I hate Discord, how he spits in the face of everything the show stands for. He’s an obnoxious elderly manchild who constantly causes problems on purpose and torments his so-called friends the second they stop paying attention to him. But they have to put up with him and give him infinite second chances, because he’s a god and Celestia said they had to reform him

The overarching plot of the final season is that Queen Chrysalis, King Sombra, Tirek, and Cozy Glow (a Darla Dimple-esque filly villain from season 8) had teamed up with Grogar, a “new” villain taken from G1. While this goes on in the background, Twilight is making her preparations to become Celestia’s successor, as we’d known would be her destiny since the day she got wings six years ago. The villain team-up stuff was genuinely fun, and a highlight of the season for me. But then, in the three-part finale, it’s revealed that Grogar was actually Discord in disguise, and that he’d been intentionally trying to orchestrate a big attack on Twilight’s coronation so that she and her friends could save the day and get a big confidence boost going into her reign as princess. This is like... one of the most bafflingly stupid plot twist of all time. It’s literally the end of the show, and Discord has learned nothing. He’s “nice” now, but he’s still intentionally causing huge problems and putting everyone’s lives in danger to solve his problems. He freed four different villains they’d already defeated just so Twilight could beat them again, and in the process they literally blew up the goddamn castle in Canterlot and nearly killed everyone. And yet... they still forgive him, because they have to

I did, however, think that the last two-part adventure episode was fun overall. It tied a nice bow on much of the series, bringing back a bunch of old friends (including cameos from the movie cast!) to band together and save the day. Of course, in the end, they beat the bad guys with a big rainbow laser and sealed them in a statue. You know, even though a previous season finale was all about how solving their problems with a friendship laser and sealing the villains away never worked. Also, Cozy Glow might be evil, but she’s still literally a child? And now her petrified body is on display in the center of Canterlot? What the fuck????

I’m complaining a lot, but again. It was fun overall. It was nice to have one last big adventure, and to have the mane six reflect on how they’d grown since Twilight moved to Ponyville

...

And then we got the actual final episode. And boy did this one hit me HARD

I’m so glad that they ended on a quieter episode about the main cast’s friendships, because that’s what the show is actually about. The two-part adventures to save Equestria every season are fun, but that’s not the real show. We all came back every week for Twilight and her friends

There are things I can complain about here, too. Spike being a buff adult dragon with the voice of a child is fucked up. I’m still not used to seeing Twilight be Celestia’s size. But more than anything, I was always worried that we’d get a Harry Potter ending, where all the characters are paired off into arbitrary marriages so they can all have kids. Thankfully, this didn’t really happen. The only one who had a kid was Pinkie, who apparently got married to Cheese Sandwich (Weird Al’s character) at some point. Like, they literally shared two episodes together, with no hint of romance? But then they got married and had a kid off-screen??? What the fuck???? A lot of people also think that Fluttershy ended up with Discord, and I know I’m massively biased against that ship, but... I mean, they teased the FlutterCord shippers, but there wasn’t really any actual textual evidence that they were any closer than they had been previously. Y’all weirdos who ship Fluttershy with an obnoxious elderly man can interpret that as being “canon” if you want, I guess, but it’s not

The other relationship that shocked everyone in the finale was Applejack and Rainbow Dash, who... appear to be a couple? It’s definitely hinted at. I have... very, very mixed feelings about this. I mean, okay, obivously I’m the big FlutterDash fangirl. But I think AppleDash is cute, too! The problem is that, like... they’ve barely interacted in years? Like, they had a lot of episodes together in the first two seasons, but then the writers barely ever had them interact past that point. I can’t even remember when the last time we got an actual episode focusing on them was. And no, the one where Rainbow takes Granny Smith to pony Vegas doesn’t count

Like... yeah, it’s cute. It’s a nice gesture. Lyra and Bon Bon getting married in the background was also cute. But we can do so, so much better in 2019. We have so many explicitly canon lesbian couples in cartoons. Couples that actually kissed, or got married, or showed feelings for each other. Rainbow and AJ barely even fucking talked to each other in the final few seasons. I dunno, it just feels very hollow to me. Even the Equestria Girls crew admitting they were pushing RariJack felt more substantial to me, because at least they were given on-screen chemistry and lots of canon interaction

But in the end, complaints aside, the finale was about Twilight moving back to Canterlot, and worrying that her friendships would fade because of it. Honestly, I think this is what the finale of the show always would’ve been. It was the perfect story to end on. And boy, it hit really close to home

And then the last song happens, reflecting on how things have changed, but how they’re all still friends. And we see all the other friends they made along the way. And the camera zooms out, and the book from the opening of the very first episode closes, bringing the entire nine-year saga full circle

And then I started sobbing really hard in Anthony’s arms

...

I dunno. I just got done nitpicking a lot, but I still think that the last episode was a good and very emotional ending for the show

I’m going to miss this show dearly. I know it will be back in a new form, and that the leaks indicate that it’ll still star slightly different versions of the Mane Six. I’m also used to shows like this getting rebooted. Hasbro cartoons are honestly lucky to last past three seasons. FiM, on the other hand, got over 200 episodes, a theatrical film, a few specials, some shorts, a bunch of comics (which I still need to read), and a spinoff human AU series that was also really great. There’s no shortage of content, and I’m sure I’ll be returning to the series for years to come. I’m also glad that the show managed to go out on a high note

But still. It was a constant presence in my life for nearly nine years. Even as the quality got really hit or miss, even as they took the premise in strange directions, even as the crew of the show grew more and more dominated by men, it was still a show I could rely on to always be there, 26 episodes a year. I’ll miss it. I hope what comes next is just as good, if not even better. I also hope it’s gayer

I was going to end my ask blog, Fluttershy Replies, around the time the show ended. I’m not sure if I’ll do that just yet. I don’t know. I think that might be a bit much for me to process emotionally. Too many doors closing in my life in quick succession. But I do want to do more with it. These characters will be special to me for the rest of my life

I mean shit, I haven’t even drawn StarTrix yet. I’ve still got a lot of work to do with these horses, folks