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Art, commerce, and the battle for the soul of My Little Pony. --- Branded toys routinely make more money than the films and cartoons on which they are based—sometimes a lot more—so it’s logical in a way that yes, children’s television shows and movies are basically long, elaborate toy commercials. If they are to provide something, anything, more interesting or positive for children than a siren call to the toy store, any other potential motives—humor, pleasure, an observation on human nature or a philosophical or moral lesson—are incidental to the prime directive of selling toys, lunchboxes, T-shirts, and all the other branded merchandise known in the trade as “CP,” or consumer products. […] In effect, it’s no longer possible to produce mass-market children’s entertainment outside the parameters of “selling out.” […] All the bronies I have met share this effortless camaraderie; some are shyer than others, but basically they are twenty-somethings with the simple, unaffected friendliness of 5-year-olds. […] There’s a temptation to reckon the attempts of artists like Lauren Faust to create entertaining and meaningful shows within the straitjacket of corporate commerce as entirely futile, hopeless. A mug’s game. But then I remember the Grand Galloping Gala in full swing. In time the techno music was blasting and a throng of kids massed together in the center of the dancefloor, dressed in cosplay pony ears and swishing tails and all sorts of homemade cartoon finery, pogoing, and suddenly it became clear that they were all chanting together. Evan, I said. Are you hearing what they’re chanting. He’s all, What is it? It was this: “Friendship! Friendship! Friendship!”

‘news coverage that treats politics as an insiders’ game invites the public to become “cognoscenti of their own bamboozlement.”’

An empathetic profile.